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THINGS WORTH DOING 
AND HOW TO DO THEM 



THE BEARD BOOKS FOR GIRLS 

By LINA and ADELIA B. BEARD 



Things Worth Doing and How to Do Them. Illus- 
trated by the authors. $2.00. 

Recreations for Girls. Illustrated by the authors. 
$2.00 (postage extra). 

What a Girl Can Make and Do. New Ideas for 
Work and Play. Illustrated by the authors. $2.00. 

The American Girl's Handy Book ; or, How to 

Amuse Yourself and Others. Illustrated by the 
authors. $2.00. 

THE BEARD BOOKS FOR BOYS 

By DANIEL C. BEARD 



The Field and Forest Handy Book. New Ideas 
for Out of Doors. Illustrated by the author. $2.00. 

The Jack of All Trades ; or, New Ideas for American 
Boys. Illustrated by the author. $2.00. 

The Outdoor Handy Book. New and Cheaper 
Edition of The American Boy's Book of Sport. Illus- 
trated by the author. $2.00. 

The American Boy's Handy Book ; or, What to 
Do and How to Do It. Illustrated by the author. 

#2.00, 





Things 
^ Worth 
Doing 

AND 

How 
To Do Them 



BY 

Lina Beard 

and 
Adelia B. Beard 

New York 
Charles 




m&ym 



Scrib 



ners 



>ons 



1906 




LIBRARY of CONGRESS 
Two Copies Received 

NOV 5 1906 

fv, CopyrleM Entry 
CLASS A XXcNo, 

AT? L 2^T. 

COPY B. 



^ 






'^ 



Copyright, 1906 by 
CHARLES SCRIBNER'S SONS 



SPECIAL NOTICE 

The publishers hereby give warning that the 
unauthorized printing of any portion of the text 
of this book, and the reproduction of any of the 
illustrations or diagrams, are expressly forbidden. 



TO 

OUR 

LITTLE NIECE 

BARBARA BEARD 



PREFACE 

We know our girls. We know and sympathize with their 
restless longing for activity. The normal girl simply must be 
doing something, and this ceaseless energy, at times rather ap- 
palling to her elders, is but natural and right. It is in the young 
blood coursing so swiftly and joyously through her veins, and 
it must find vent in one way or another. But there is no need 
of doing that which brings neither true pleasure nor the joy 
of accomplishing something worth while, for the world is full of 
delightful things really worth the doing. We have only to open 
our eyes and ears to find them crowding forward to claim our 
attention, and the choice is between better and best. 

There are merry frolics and active games that stimulate the 
health and renew the vitality of the body and there are scores of 
charming things for willing hands to make which are not only 
worth the making but which bring skill to the fingers and 
breadth and energy to the mind. 

In this, our fourth book for girls, we are giving some of the 
things we have found well worth the doing, and it is our hope 
that our girl friends will also see their worth and find in them 
inspiration for further experiments in pastime and frolics. 

The Authors 

July 3, 1906. 



CONTENTS 



PART I 
PARTIES, SHOWS AND ENTERTAINMENTS 



CHAPTER I 



A Fourth of July Lawn Frolic 3 

Ground Decoration, 3; Firecracker Invitation, 4; Pantomime 
Charades, 6; To Make the Sun-bonnet, 7; Shuffle Race, 10; 
Hurling the Lance, 10; Daylight Fireworks, 11; Balloon 
Ascension, 11; The Myth, 12; Pandora Box, 12; The Bal- 
loons, 13. 

CHAPTER II 

A Wonderful Circus at Home with Moving Animals 15 

Mademoiselle Rosebud, 16; To Give the Horse Power to Move, 
18; Bob, the Wonderful Elephant, 20. 

CHAPTER III 

A Novel Easter Party with New Easter Games 33 

Egg Tennis, 3^; Number of Eggs, 33; To Prepare the Eggs, 34; 
Shower of Paper, 36; The Rackets, 38; The Game, 39; But- 
terfly Game, 42; Magic Dye Kettle, 43. 

CHAPTER IV 

A Doorway Punch and Judy Show 45 

The Stage, 45; To Make Punch's Head, 46; Punch's Dress, 
50; Judy's Head, 51; The Baby, 52; Drama of Punch and 
Judy, 53. 



Contents 



chapter v PAGE 

Hallowe'en Merrymaking 55 

Novel Ways of Telling Fortunes, 55; Invitation Rings of Grass, 
55; Black Cats, 56; Pair of Old Slippers, 58; Cups and 
Bowls, 59; The Wedding Race, 61; The Vesper Rite, 65; 
Bean Bag Test, 66; The Witch Screen, 66; Fairy Airships, 
70; Blarney Stone Game, 71. 

CHAPTER VI 

Dance of Titania, Queen of the Fairies 75 

The Stage, 75; Titania, 79; Costume, 82; Wings, 83. 

CHAPTER VII 

Thanksgiving Party : 85 

Apple, Orange and Pumpkin Games, 85; Game Court, 90; 
The Game, 92; Rapid-Transit Thanksgiving Story, 92; 
Pumpkin Lantern, 93; Forfeit, 95. 

CHAPTER VIII 

Impromptu Moving Pictures for Thanksgiving 97 

Puritan Woman's Dress, 98; Puritan Man's Costume, 98; The 
Properties, 101; A Pantomime, 102. 

CHAPTER IX 

A Valentine Entertainment with Original Valentines 103 

The Post-Office, 104; Valentine Stamps, 107; When the Bell 
Rings, 107; Heart Valentine, 109; World Valentine, 109; 
Daisy Valentine, no; Love's Palette, in. 

CHAPTER X 

The Wild West Show on a Table 113 

A Panorama, 113; Pasting Pictures, 120; The Performers, 120; 
A Tent, 123. 



Contents xi 



CHAPTER XI PAGE 

Roof Picnic with Brook to Cross and Flowers to Pick .... 127 
Sunflowers, 127; Hollyhocks, 129; Roses, 130; Peaches, Plums 
and Apples, 130; On the Roof, 131; Country Picnic, 132; 
Crossing the Brook, 133; Japanese Tag, 134. 

CHAPTER XII 

The Magic Peep Show 137 

The Slides, 138; The Cow Jumped Over the Moon, 139; Life 
in Fairy Waters, 141; Easter Chicks, 143; Three Blind Mice, 
144; Dance of the Dolls, 145; The Bouquet, 147; The Little 
Sun-bonnet Girl, 149. 

CHAPTER XIII 

Plant Your Garden if You Can 153 

A New Flower Game, 153; Marking Out Flower Beds, 157; 
Flags, 157; The Rackets, 158; The Game, ,159; A Tally 
Card, 159; To Determine Choice of Sides, 160. 

CHAPTER XIV 

Jolly Little Santa Claus with His Reindeer and Sleigh . . . 163 
The Sleigh, 164; Reindeer, 165; Santa Claus, 168; Christmas 
Gifts, 170; Christmas Cards, 172. 

CHAPTER XV 

A Living Christmas Tree 173 

How to Prepare, 173; The Peaked Hat, 174; To Decorate, 177. 

CHAPTER XVI 

How to Get Up a Girls' Fair 179 

A Managing Committee, 179; Blackbirds, 181; Packages for the 
Blackbirds, 184; Express Office, 186; Letters, 187; Post- 
Office, 187; Decorations, 187; Postmaster, 192. 



xii Contents 



CHAPTER XVII PAGE 

Camping Out in Your Back Yard 194 

Camping Outfit, 194; Tent, 197; Table, 198; Safe, 199; Spring, 
200; A Fine Pail, 201; Camp-fire, 201; A Boat, 202; Out 
Fishing, 204. 

CHAPTER XVIII 

Outdoor Fun with Home-Made Tether Ball 207 

The Pole, 207; The Cover for the Ball, 207; A Court on the 
Grounds, 211; A Pattern for the Rackets, 214; The Object 
of the Game, 215. 



PART II 
MINIATURE SEVEN WONDERS OF THE WORLD 



CHAPTER XIX 

The Pyramids of Egypt 219 

Cheops's Home, 219; The Pyramid, 220; Carving the Wonder- 
ful Sphinx, 225; Making the Date Palm, 227; Making the 
Camels, 228. 

CHAPTER XX 

The Colossus of Rhodes 233 

Island of Rhodes, 233; To Make the Colossus, 234; Mark the 
Features, 238; The Pedestal, 240. 

CHAPTER XXI 

The Pharos of Alexandria and the Mausoleum of Halicar- 

NASSUS 245 

The First Lighthouse, 245; The Building Lot, 246; The Founda- 
tion, 248; The Marble Steps, 252; An Artificial Island, 254; 
The Mausoleum of Halicarnassus, 255. 



Contents xiii 



CHAPTER XXII PAGE 

The Statue of Zeus at Olympia 259 

Throne of White Cardboard, 263; Upper Dais, 264; Footstool, 
265; Inlaying the Throne with Ebony, 267; The Drapery, 
267; Winged Victory, 268. 

CHAPTER XXIII 

The Temple of Diana at Ephesus 269 

Ionic Column, 269; The Ground Plan, 270; The Outer Row 
of Columns, 271; A Cella, 271; The Goddess Diana, 272; 
Marble Steps, 274; The Side Steps, 276. 

CHAPTER XXIV 

Hanging Gardens of Babylon 279 

The King's Wife, Amytis, 279; The Foundation, 280; To Make 
the Twelve Openings, 281; The Babylonian Arches, 283; 
Last Platform, 285 ; To Find the Centre, 285 ; Planting Shrubs 
and Trees, 287; Building the Steps, 289; Stone Broad-fronted 
Bulls, 293; Two Statues, 294; The Shrubbery, 297. 



PART III 



THINGS TO MAKE FOR HOME, GIFT DAYS 
AND FAIRS 



CHAPTER XXV 

New Christmas Decorations 303 

Paper, 303; Holly, 304; Holly Berries, 307; Wreaths, 310; 
For Mistletoe, 310; Stems, 311; Ropes of Evergreen, 312. 



xiv Contents 



CHAPTER XXVI PAGE 

Doll House of Pasteboard 315 

Windows and Doors, 316, 317; Doorknobs, 317; Window Glass, 
318; Window Sash, 319; The Frieze, 322; A Rug for the 
Living Room, 323; Book Shelves, 324; Tissue Paper Cur- 
tains, 324. 

CHAPTER XXVII 

The Making of a Bayberry Candle 326 

Bayberry Bushes, 326; The Leaves, 329; The Berries, 330; 
Ready for the Candles, 330; Bayberry Wax, 331; Candle 
Moulds, 331; Candlewicks, 334. 

CHAPTER XXVIII 

Water Toys — Little Wax People that Swim and Ride on Rafts 338 
Patterns for the Little People, 338; A Toy Life Rope, 340; The 
Bathing Place, 341; For the Raft, 341; A Little Lumberman, 
344; Launching the Raft, 345; Making the Mermaid, 345. 

CHAPTER XXIX 

How to Weave without a Loom 349 

Method Invented by the Author, 349; A Weaving Board, 349; 
Directions for a Blue and White Cotton Rag, 350; To Weave, 
352; To Lengthen the Warp, 353; To Make a Heavier Rug, 
357- 

CHAPTER XXX 

How to Make Your Own Easter Cards and Gifts 358 

Cards Representing Easter Flowers, 358; The Cross, 360; The 
Tulip Bud, 361; The Dainty Bloodroot, 363; Easter Egg 
Card, 363; Easter Bells, 364; To Make the Turtle, 366; The 
Pig, 367; The Spoon, 368; An Umbrella, 369; The Doll's 
Chair, 370; Strawberry, 371; Doll's Cradle, 372; Bird's Nest, 
373; Sail Boat, 373; Napoleon, 375; Josephine, 379. 



Contents xv 



CHAPTER XXXI PAGE 

Home-Made Candlesticks 385 

The Clay, 385; Modelling Tools, 387; Strong Table, 387; China 
Saucer, 388; A Close Coil, 389; The Handle, 393; Blending 
of Decoration, 394; How to Preserve Unfinished Work, 395; 
Glazing, 395; Other Methods of Coloring Pottery, 396. 

CHAPTER XXXII 

What to Make op Bananas, Oranges and Apples 399 

An Orange-skin Coracle, 400; A Canoe Made from a Banana 
Skin, 401; Apple Lantern or Fairy Lamp, 403. 

CHAPTER XXXIII 

Little Paper Columbus and His Paper Ship 405 

Columbus's Ship, 406; To Make the Mizzenmast, 408; The Bow- 
sprit, 408; The Forward Deck, 409; Deck-Fence, 410; A 
Spar, 410 ; The Mainmast, 411; The Sails, 411; A Paper Flag, 
412; Main-Topsail, 412; Crow's Nest, 412; The Jigger Sail, 
413; Wigwams, 416; Ferdinand and Isabella, 417. 

CHAPTER XXXIV 

How to Make Friends with the Stars „ 418 

Ursa Major, 418; Ursa Minor, 420; A Fairy Tale about the 
Starry Bears, 421; Cassiopeia, 421; Leo, the Lion, 422; 
Northern Crown, 423; Castor and Pollux, 423; Orion, 424; 
Taurus, 425. 

CHAPTER XXXV 

Stencil Painting and How to Make the Stencils 426 

Dyes, 426; A Portiere, 427; To Make a Design for Stencilling, 
428; Stencilling Cheese-cloth Curtains, 433; The Tassels, 435; 
Laundering, 438. 



PART I 

PARTIES, SHOWS, AND 
ENTERTAINMENTS 



CHAPTER I 



A FOURTH OF JULY 
LAWN FROLIC 

'HIS is not to be a formal lawn 
party, but a genuine, fun-pro- 
voking Fourth of July frolic 
with every one in comfortable 
dress appropriate for active 
games. There is to be no danc- 
ing, no tennis, nothing in the 
way of ordinary entertainment 
except, perhaps, the refresh- 
ments, and they too should be 
as nearly in keeping with the 
day as possible. 

Prepare your guests for some- 
thing novel by issuing your invitations in the form of giant fire- 
crackers. 

Decorate Your Grounds 

and make them as festive as possible with fluttering flags, floating 
streamers, red, white, and blue bunting, and Japanese lanterns. 
Also provide a number of small flags, one for each guest, to be 
worn in the hat, hair, belt, and buttonhole. This little touch of 
uniform will not only make the scene gayer and more exhila- 
rating, but, like badges of an order, will have the effect of dispelling 
the stiffness of new acquaintances, and bringing the party closer 
together as members of one band of merrymakers. 

3 




4 Parties, Shows, and Entertainments 

For the Giant Firecracker Invitations 

you will need several sheets of bright red tissue paper, more of 
white tissue paper, and some white unlined writing paper. A 
ball of soft white cotton string will also be required. 

Cut an oblong of red tissue paper, a circular piece of white tissue 
paper, and a square of writing paper for each invitation. Make 
the red oblong six inches long and three inches wide, the circle six 
inches in diameter, and the writing paper four inches square. Of 
the paper square make a cylindrical roll that will measure about 




Fig. i. — Lay the paper cylinder on the red tissue paper. 

three-quarters of an inch across the end. The easiest way to do 
this is to roll the paper on a candle, keeping the end edges even, 
and paste the side edge down while still wrapped around the candle. 
Pull the«candle out of the paper and you have a perfect cylinder. 
Place the paper cylinder on the red tissue paper oblong so that 
there will be an even inch of red paper at each end (Fig. i). Paste 
one long edge of the red paper to the cylinder and roll it on the 

table, bringing the op- 
posite edge up smoothly, 
then paste that edge also 
in place (Fig. 2). 

Now prepare and 
write the note of invita- 
tion to be put in the 

Fig. 2.— Cylinder in red paper cover. firecracker envelope. 




A Fourth of July Lawn Frolic 



With Short Brush Strokes, 

from inside to edge, paint an irregular band of blue, half an inch 
wide, around the edge of the tissue paper circle, using water colors 
for the purpose. Write the invitation with red ink around the 
circle just inside the blue border, or straight across above and 
below the centre. 

Although the party is to be informal, a note written in the first 
person does not harmonize with the impersonal nature of a fire- 
cracker, therefore it is better to word the invitation something 
like this: 

Miss Mary Brown requests the pleasure of the Misses Green's company 
at an informal lawn frolic on Wednesday, the Fourth of July, from four to 
six o'clock. Active games. 

When the ink is quite dry pinch the paper together at the 
centre, making it look something like a paper flower, twist it a 




Fig. 3. — The note of invitation looks like this. 



little, and tie on the point a piece of the white cotton string. 
The string should be about ten inches long and must be tied at 
the middle (Fig. 3). Drop one end of the string through the 



Parties, Shows, and Entertainments 



cylinder and, taking hold of the end, draw the invitation into 
its envelope. Crush in the extra red paper at each end until it 
fills the opening and leaves the string extending from the centre 




Fig. 4. — Giant firecracker with invitation inside. 

(Fig. 4). Write the address and the words, "Pull the long string," 
on the outside of the now almost perfect giant firecracker, and 
deliver by hand, for such an invitation would be broken and 
spoiled in going through the mail. 
The following 

Order of Entertainment 

is well adapted to the Fourth of July lawn frolic: 
Out-of-door Pantomime Charades. 
Shuffle Race. 
Hurling the Lance. 
Daylight Fireworks. 
The programme opens with the not too vigorous game of 

Pantomime Charades. 

This will give all the opportunity of taking part and alter- 
nately acting and resting. Stake out the four corners of your 
stage with groups of flags, driving their sticks into the ground 
to hold them upright. Provide seats for the audience in front 
of the stage and at the back or side arrange a screen as dressing 
and green room for the actors. 

Divide the party into two sides of equal numbers and let the 



A Fourth of July Lawn Frolic 7 

first side choose a proverb to be acted out in pantomime and 
guessed by the opposite side, which is taking the part of audience. 
When the proverb is guessed the actors must retire and the other 
side take the stage. If the subject of the first charade is not 
guessed the same side must present another proverb, putting new 
actors in the place of those who have just taken part. Not a word 
must be spoken in the charade, but the actors must make their 
meaning as clear as possible by good acting. 

Our first illustration shows the out-of-door pantomime charade 
in progress. The proverb is: "Make hay while the sun shines." 
This requires but one act as the first part, "Make hay," and the 
last part, "while the sun shines," are both represented. Making 
hay is acted out and that the sun is shining is implied by the 
quaint sunbonnets and wide-brimmed hats worn by the actors. 

The Costumes Are Impromptu, 

and may be prepared in a few minutes. The odd and most 
charmingly becoming bonnets, somewhat resembling Dutch caps, 
are made of newspapers, pinned in shape. The men's wide- 
brimmed hats are simply ordinary hats with wide brims made of 
wrapping paper. Black derby hats were worn on this occasion, 
but straw hats are better. The girls' dresses are turned up in 
front and pinned at the back. If checked gingham aprons are 
worn looped up at one side they will add to the color effect of the 
costume. 

To Make the Sunbonnet, 

take one folded sheet of a newspaper and turn the folded edge 
back four inches (Fig. 5). Fold down the corners like Fig. 6, 
put it on the head, bring the straight edge together at the back 
and pin it with a large pin. Bend out the laps at the sides and 



8 Parties, Shows, and Entertainments 

you have made Fig. 7; Fig. 8 gives the pattern of the boy's hat. 
Cut a large circle from rather stiff, new wrapping paper; press it 
down upon the top of the crown of a man's straw hat; crease it 




Fig. 5. — Fold the newspaper for the bonnet like this. 

along the edge of the crown, then cut a hole in the centre two 
inches within the creased line. Slash from the inner edge to the 
creased line as shown in Fig. 8, fit the paper brim over the crown 
of the straw hat and pin in place to the hat band. 




Fig. 6. — Fold down the two corners. 



High peaked hats, wide collars, and even short capes may be 
quickly manufactured from paper and the effect of the impromptu 
costume is marvelously good. 



A Fourth of jfuly Lawn Frolic 9 




Fig. 7. — A most becoming newspaper bonnet. 




Fig. 8. — Cut the boys' hat brims like this. 



10 Parties, Shows, and Entertainments 

The Shuffle Race, 

next in order, is new and it is funny. Its requisites are, for the 
girls, short skirts, held well above the ankles, and low shoes or 
slippers many times too large, worn over ordinary shoes. Unless 
the foot can be lifted out of the shoe without touching it with 
the hands the shoe is too small. For the boys you must pro- 
vide the largest sized slippers obtainable, having uppers only at 
the toes. 

The course should be about one hundred feet over a smoothly 
shaven lawn. The contestants must stand in line at the starting 
point and at the word "go," start off on the race, shuffling along 
as fast as possible. The boys have no advantage over the girls 
in this game, for it is no easier for one to cover the distance quickly, 
shuffling along in the large shoes, than for the other, and both 
look equally ridiculous in their absurdly frantic efforts to win 
the race. 

After resting from the shuffle race allow your guests to try their 
skill at 

Hurling the Lance. 

From the limb of a tree have suspended five or six feet from the 
ground a small wooden hoop, about eighteen inches in diameter, 
covered like a drumhead with white tissue paper. 

Provide each player with a round, green, tapering stake, white 
tipped and five feet long — the kind used for propping up plants. 
On the blunt end of each stake, or lance, should be tied streamers 
of red, white, and blue, which will make streaks of color as they 
are sent hurtling through the air. 

Clear the space on the far side of the hoop that no one may 
be hurt by the falling lances, then have each player in turn throw 



A Fourth of July Lawn Frolic 11 

his or her lance with the object of piercing the paper and sending 
the lance entirely through the ring. Each player may have three 
trials in succession, and unless her lance passes through the hoop 
at least once she is counted out. There are three rounds and the 
player wins who, at the end, has succeeded most frequently in send- 
ing her lance through the hoop. 
Let the farewell be a 

Burst of Daylight Fireworks. 

Strings of firecrackers stretched from tree to tree, bunches hidden 
under barrels, harmless torpedoes for your guests to explode, and 
any other fireworks that do not need darkness for a background 
may be used. 

It is a good idea to make 

The Balloon Ascension 

an especial feature of the display. In the early days of our country 
" Independence Day" was not to be thought of without a balloon 
ascension, and the time-honored custom may be observed, but in a 
new way. This part of the programme should come as a complete 
surprise, and all the preparation for it be kept secret, that none of 
your guests may suspect what you have in store for them. The 
old observances always included a patriotic speeeh, and that, too, 
should form a part of the ceremony, being used as an introduction 
to the balloon ascension. You may make the speech yourself or 
get some one to do it for you, but in either case let it be quite 
short. Balloons should not be mentioned, but in some way the 
old Grecian myth of Pandora and her wonderful box must be 
brou °rht in. 



12 Parties, Shows, and Entertainments 



The Myth 

can be used quite appropriately and effectively for, as you will 
remember, it was to punish Prometheus, and mankind in general, 
for stealing fire that Zeus commanded Hephaestus to form from 
earth this most beautiful Pandora, in order that by the charms 
with which the other gods endowed her, she might bring trouble 
and vexation upon them. It does not appear to have been al- 
together her charms, however, that worked the mischief, for we 
are told it was curiosity that induced her to open the box, or 
cask, which was filled with winged blessings for men, thus 
allowing all of the blessings except hope to escape. As the re- 
marks are being brought to a close have your 

Pandora Box 

carried out and placed in front of the speaker. 

In this case the box is to be a good-sized sugar-barrel, wrapped 
in flags, or red, white, and blue bunting, and having a lid that is 
easily lifted. With the final words let the speaker step forward 
and suddenly raise the lid of the barrel. This will set free not 
the things that were in the original Pandora box, but a number of 
gas-filled, rubber, toy balloons, that will burst out like a volley of 
fireworks, for a moment filling the air with color and movement, 
then sailing upward and away to finally disappear from view in 
the blue sky overhead. 

In preparing your Pandora box choose a barrel that is perfectly 
smooth inside, without long splinters or nails to pierce the fragile 
balloons. Then see that the cover has a handle or knob by which 
it can be lifted. A spool fastened on with a screw will serve very 
well and is easily grasped by the hand. 



A Fourth of July Lawn Frolic 13 



The Balloons 

are the kind one sees for sale on the streets tied in great bunches 
by their long strings. Red is the most common color, but some- 
times they vary. Frequently there are white ones with red or 
yellow lettering and bands, and again, just before the Fourth, 
red, white, and blue ones may be found. Have all the colors 
possible, and crowd in as many as the barrel will hold, cutting 
the strings off close to the balloons that they may not become 
entangled, and taking great care that they do not escape, like the 
blessings, before their time. 




-= CIRCUS ==- 

T"HE MODERN XRIUMRH 
CONTINUOUS PERFORMANCES— NOVEL FEATURES 
MADEMOISELLE ROSEBUD 

IN HER 



THRILLING AND DARING HORSEBACK FEATS 



UISIRARAL.L_EL.ED TRICK 



E3 O E3 , THE T R A I ISI EI D E L_ E_. F> M A IM T 



COME AND SEE 



FUN FOR ALL 



DON'T MISS TH 



SHOW 



14 



CHAPTER II 



^=*=^ 




A WONDERFUL CIRCUS AT 
HOME WITH MOVING ANI- 
MALS 



AKE your poster as nearly as possible 
like the one on the opposite page. 
Paint the lettering in gay colors on 
a big sheet of paper and a day be- 
fore the show tack it up in a con- 
spicuous place where all the family 
will see it, for, of course, your show 
must have an audience, and if you follow out all directions very 
carefully it will be well worth seeing. 

Have your circus on top of a large table, or on the floor, or 
out of doors on the bare ground. Almost any place will do where 
there is a good-sized level surface. 

Make the circus ring about forty inches in diameter, outline 
it with chalk and cover the marked line with either sawdust or 
dry corn meal built into a narrow ridge similar to that of earth 
around the large rings ; then your circle will look just like the ring 
of a real circus. 

Be sure to have some kind of music at your show, if only music 
on a comb. Place a piece of paper over the comb and play a 
lively march. Let all the music be sprightly and gay. 

Following the method given for making the horse and ele- 
phant, you can make various other moving animals. 

15 



16 Parties, Shows, and Entertainments 



Fig. 9 shows 



Mademoiselle Rosebud 



standing firm and upright without the slightest tremor as her 
Kentucky charger leaps high in the air over an outstretched 

banner. 

Fig. 10 gives the pat- 
tern of the horse and 
rider, which you can 
trace on stiff cardboard, 
not too heavy. If en- 
larged to twice the size 
given they will be more 
imposing, but this is not 
necessary, as the size of 
pattern is very good. 

When outlined cut 
out the design, let the 
horse remain white, and 
with pen and ink draw 
the lines which give him 
form, shaping the head 
and neck, and sepa- 
rating the legs, as in 
Fig. 9. 

Paint Mademoiselle's 
face, arms, and neck 
flesh color; her waist, 
skirt, stockings, and 
slippers light blue ; make 
a full double tissue- 




Circus With Moving Animals 17 



jy 



Fig. 10. — Pattern of horse and rider. 



paper skirt of the same color by gathering a strip of light-blue 
tissue paper through the lengthwise centre, folding the edges to- 
gether and tying this double skirt around the little lady's waist. 
Cut a narrow strip of the same blue paper and fasten one end 



18 Parties, Shows, and Entertainments 

around each wrist that it may float freely in the air as she gallops 
around the ring. 

To Give the Horse Ability to Move, 

pierce four holes through the body with a large needle, as in 
Fig. 10. Be sure to have the holes in the right places that the 
horse may balance perfectly; then when the threads are in 
position there will be no difficulty in making the horse stand and 
walk alone, as a well-trained steed should. 

Use four pieces of strong black thread, all of the same length, 
about forty inches, for leading the horse. Tie all four ends of the 
thread together, and make a large knot in each strand seventeen 
inches from the joined ends. Run each thread through a sepa- 
rate hole in the body of the horse. Slide the horse against the 
knots tied in the thread and then tie a second knot in each thread 
close up to the other side of the horse. 

Be very particular about these knots; they should rest against 
the body of the horse, that the animal may be firmly inserted 
between eight knots, four knots tight up against each side of his 
body. Sew a tag of black tape on the thread where the ends are 
tied together and pin the tag down to the floor in the centre of the 
circus ring. 

Tie the Ends 
E and F (Fig. n) together and fasten them to a piece of paste- 
board; do likewise with the ends of the threads G and H, then 
hold the two threads which are near the front of the horse, E and 
F (Fig. n), in one hand and the other two threads, G and H, in 
the other hand while you walk slowly around the outside of 
the ring, allowing little Rosebud to ride demurely around in a 
circle, as such performers always do when they first enter a real 
circus ring. 



Circus With Moving Animals 



19 



After the audience has been duly impressed by the novel sight 
of a paper horse and rider moving, apparently without aid, around 
the ring, the black threads being practically invisible, let the horse 
stand alone while you bring out two or three brightly colored 




Fig. 1 1. — Threads showing how to make the horse dance. 

tissue-paper banners, with each end of each scarf pasted on the 
top of a spool. Place the banners at various distances around the 
ring; then again take up the threads and 



Make the Horse Run and Jump Over Each Banner. 

This done> remove the banners and let the horse with his pretty 
rider dance around the ring, sometimes on his hind feet, as in 



20 Parties, Shows, and Entertainments 



Fig. 12, and again on his fore feet (Fig. n), while little Rosebud 
easily retains her footing, looking more than ever like a real circus 
rider. 

Fig. 13 gives the different parts of 

Bob the Wonderful Elephant. 

Make them all of stiff cardboard and larger if possible than the 
diagram; then with pen and ink draw the ears, eyes, and tusks 




Horse and rider dancing around the ring. 



(Fig. 14) ; waterproof drawing ink is best for this purpose, but 
common ink will do. When the ink is dry give all parts, except 
the tusks, a light wash of India ink, to turn the animal a natural 
dull gray color. With black thread fasten the leg A on the far 
side of the elephant, running the thread through the hole A in 
the elephant and tying the thread into a large knot on the leg, 
then making another knot on the near side of the body; the leg 



22 Parties, Shows, and Entertainments 



and body are fastened to each other in this way between two knots 
of thread. Have the pieces close together, but loose enough to 
allow the leg to move easily. Attach the next leg, B, on the near 
side of the body at the hole B. The leg C goes on the far side 
of the body at the hole C, and the leg D on the near side at the 
hole D. The legs A and C are on the far side, and B and D on 
the near side of the animal (Fig. 14). Sew one end each of two 




Fig. 14. — "I'll walk. 



strands of black thread to a small piece of black tape. Make a 
large knot in each thread, eighteen inches from the tape, run the 
free end of each thread through one of the two holes high on the 
elephant's body (Fig. 13), and slide the elephant on the threads 
close to the knots. Make other knots on this side of the body, 
in the same way you managed the Kentucky charger, then pin the 
tape to the centre of the ring and 



Start Your Elephant on a Walk 



around the ring. 




Fig. 1 6. — "See me sit up." 
23 



24 Parties, Shows, and Entertainments 



If the horse and rider interfere, take them away and let the 
unparalleled animal have the field to himself. When Bob goes 
around the ring he always gets tired and draws back, declining to 




"I can dance. 



move another step. Make him do this by gently pulling the back 
thread backward. Bob is very comical when assuming this pose 
(Fig. 15). Raise the front thread and the little fellow will sit up 




Fig. 1 8. — " I am coming.' 




Fig. 1 9. — " Hurry ! Get out of the way. ' ' 



25 




Fig. 20. — " Here goes.' 



26 



Circus With Moving Animals 



21 



(Fig. 1 6). Slowly and gently raise both threads a trifle and Bob 
will begin to dance (Fig. 17). Raising the back thread a little, 
not enough to take his foot from the ground, and at the same 




Fig. 21. — "How is that?" 



time lowering the front thread, will cause Bob to crouch and crawl 
along (Fig. 18). Fig. 19 shows Bob when he is in a hurry. Make 
this by lowering the front thread of Fig. 18. 



28 Parties, Shows, and Entertainments 



Now Stand a Spool in the Ring 

raise the clumsy little fellow up on his feet and walk him over to 
the spool, where he will naturally rest one foot on top while he takes 
a long breath before climbing up (Fig. 20). Move the threads 
carefully and the elephant will climb on the spool (Fig. 21). Lift 




Fig. 22. — " Difficult, but I can do it." 



Circus With Moving Animals 



29 



the back thread, and Bob will slowly and cumbersomely raise 
up until he balances himself on one fore foot on top of the spool 
(Fig. 22). By cautiously moving the threads you can make the 
elephant lower himself and step down and off (Fig. 23). When 
the animal is entirely off the spool, raise up and back the front 




$i~?0 



Fig. 23. — " I'm coming down." 



thread and he will sit down upon the top of the spool to rest (Fig. 
24). Without any trouble Bob can stand erect on the spool, as 
in Fig. 25. 

All the poses given were taken direct from those actually 
assumed by Bob while he performed to the accompaniment of 
music, when rehearsing to a small but appreciative audience, 
preparatory to appearing before the public in print. The Ken- 
tucky charger also went through all his acts to the same music. 



30 Parties, Shows, and Entertainments 




Fig. 24. — "Must rest' 



Remember to mark and color the wrong side of each figure 
as it should appear, so that the animals and rider may look well 
from all sides of the ring. 




Fig. 25. — " Just balance like me,' 
31 



32 Parties, Shows, and Entertainments 

The horse can go rapidly, but the elephant, to be lifelike, must 
move slowly. When the circus is over roll the threads on their 
respective pieces of cardboard and bits of tape to avoid tangling 
them, and have a box ready in which the animals may lie flat until 
again needed. 

This little circus will make a fine parlor entertainment, or 
would do admirably as a side show at your next fair, when a small 
extra admission could be charged and wee glasses of lemonade 
and tiny popcorn balls passed around to the audience in true 
circus style. 



CHAPTER III 




A NOVEL EASTER PARTY WITH 
NEW EASTER GAMES 

HERE are no end of delightful things 
to do at an Easter party, and every 
game may be in keeping with the 
season. 

The game of 



Egg Tennis 

is particularly pretty. As you play 
this new Easter game, showers of 
color will fill the air, sometimes de- 
scending in sparkling bits of orange, 
again reds, then greens or blues, 
yellows or purples, with all their beautiful tints. Quivering and 
shimmering, down the colored rain will fall, lightly covering your 
hair, clothing, and surrounding objects, while you stand, racket 
in hand, watching the result of your stroke. Your companions, 
seeing your success, will be eager to try their skill, also, with one 
of the pretty magic eggs. These colored showers do not even 
look wet, and they will not injure the most delicate of fabrics, for 
they are composed of countless bits of bright tissue paper. 

The Number of Eggs 

needed for the game depends upon the number of players. There 
should be three eggs provided for every two players. In case 
the first player succeeds in breaking two eggs in succession, the 

33 



34 Parties, Shows, and Entertainments 




third egg will not be used during the game, but may do duty at 
another time in another game. Should the first player fail in 
breaking the second egg, then all three eggs will be required. 

How to Prepare the Eggs 

Select eggs as nearly of a size as possible; take one egg at 
a time and with a very coarse needle carefully bore a hole in 
each end by pressing the point of the needle 
against the shell and then turning the needle 
around and around until a little hole appears. 
Be very careful when boring not to press the 
needle with too great a force, as there is danger 
in so doing of cracking the shell and rendering 
it useless. When both holes are made, increase 
the hole on the large end of the egg until it is 

Fig. 26.— Carefully bore ° b f 

a hole in each end of about as large around as the head of a common 
the shell. hat-pin (Fig. 26), then place the small end to 

your lips and blow out the contents. 



After the Shells Are Emptied 

leave one white and color all the others, making each shell of a 
different color. When this is done, allow the inside of the shells 
to become thoroughly dry; then fill them with pieces of tissue 

paper cut in small squares a 

quarter of an inch or less in 

size. These can be quickly 

made by folding the tissue 

paper like Fig. 27 and cut- 
L^ EH ting it into strips of fringe 

(Fig. 28) ; then cutting off the 




Fig. 27. — Fold the paper 
like this. 



Fig. 28. — Cut the paper 

ends of the fringe little by in fringe uke this. 




Playing the New Easter Game of Egg Tennis 



35 



36 Parties, Shows, and Entertainments 




Fig. 29. — Cut off the ends of the fringe. 



little (Fig. 29). Fill the red 
egg-shell with bits of red pa- 
per, the yellow shell with yel- 
low paper, and so on, making 

The Shower of Paper 

in each egg-shell correspond 

to the color of the shell. Fill 

the white shell with squares of 

white tissue paper, and when 

the shell breaks in mid-air, the shower will resemble the dainty 

petals of cherry blossoms as they fall when shaken from the trees 
by a light breeze. The effect is very pretty, 
calling to mind the Feast of Cherry Blos- 
soms in Japan, when the girls and boys 
accompany their elders to see the cherry 
trees in full bloom. 

Cut Gilt Paper Disks 

two inches in diameter (Fig. 30) ; fold each 
disk through the centre (Fig. 31), then fold 
again crosswise through the middle of the first fold (Fig. 32). 
Fold once more (Fig. t,^), and, following the dotted lines on 
Fig. t,^ cut the points as shown in Fig. 34 and you will have 




Fig. 30. — Gilt paper disk. 







Fig. 31.— Fold the disk 
through the centre. 



Fig. 32.— Fold the disk 
a second time. 



Fig. 33-— Fold 
once more. 



Fig. 34-— Cut 
out the point 



A Novel Easter Party 



37 




Fig. 35- — The star 
unfolded. 



the eight-pointed star (Fig. 35). While the point is still folded 

with a sharp pair of scissors clip off the point (A, Fig. 34). This 

makes the hole in the centre of the star (B, Fig. 35). Through 

the hole in each star thread the two ends of 

a strong string. Cover the under side of the 

star with paste, separate the two ends of the 

string and hold them down on each side of 

the egg (Fig. 36), then draw the star down on 

to the shell over the strings, and press tightly 

in place until the paste holds (Fig. 37). Clip 

off the ends of the string that extend below 

the star. 

When the paste is quite dry and the paper firmly attached 
to the shell, 

Hang One of the Eggs 

directly in the middle of a wide 
doorway so that the egg will be 
about as high as the shoulders 
of the players. If there is a cur- 
tain pole in the doorway tie the 
string to the pole; if not, drive 
a tack on top of the door frame 
and suspend the egg from that. 
Where the doorway is quite wide, 
like the old-fashioned doors be- 
tween two parlors, two eggs may 
be hung and four players take 
Fig. 36.— How the part at one time. In that case 

two ends of the yQU will need f Qur rac kets; Ordi- Fig - 37.-Draw the 
string down on each J < star down and press 

side of the egg. narily two rackets are sufficient, tightly in place. 





38 



Parties, Shows, and Entertainments 



Make the Rackets 

of flat rattan, taking two pieces, twenty-seven inches long for each 
racket. Soak the rattan to make it pliable, then bind the two 
pieces together with string as in Fig. 38. Bend the now double 





Fig. 38. — Bind the two pieces of 
rattan together. 



Fig. 39- — Bring the four end3 
together to form a loop. 



rattan to form a loop, bring the four ends together and wrap 
them into a straight piece for the handle (Fig. 39). 

Lay the frame you have just made down on a large piece of 
strong writing-paper and mark a line on the paper one inch 
from and entirely surrounding the outer edge of the frame down 
to the handle. Draw another line close to the outer edge of the 
frame, then cut out the design along the outside line. Slash the 
edge up to, but not across, the remaining pencil line (Fig. 39). 
Cover one side of the slashed border with paste or glue, and, 
again placing the frame on the paper, turn the flaps, one at a 



A Novel Easter Party 



39 



time, over the edge of the frame and attach them firmly to the 
frame and to the inside of the paper (Fig. 40). When the paste 
is perfectly dry, make another paper cover in the same manner 
and paste its slashed edge over the frame on top of the first, put- 
ting one cover directly over the other and so making it double; 
this will make the racket quite strong and firm. 

Wind a strip of paper one-half an inch wide around the 
handle, pasting it as you wind, and turn the end of the paper up 





Fig. 40. — Turn the flaps of the border 
over the edge of the frame. 



Fig. 41. — Finish with a bow 
of ribbon. 



over the end of the handle (Fig. 40). Finish with a bow of rib- 
bon, tying it on where the handle joins the racket. Fig. 41 
shows the completed racket right side up. 

The Game of Egg Tennis 

is played in couples, and the object is to break the egg-shell and 
send the paper rain flying in the air. The sport is adapted to 



40 Parties, Shows, and Entertainments 

all ages, from the little child scarcely large enough to wield the 
racket to grown girls and boys, and even older people will be- 
come excited as they try to strike the fragile toy. 

The players must stand facing each other at equal distances 
from and on opposite sides of the suspended egg. The distance 
is decided by swinging the egg and then placing the players 
within easy reach of it before it swings above their heads. This 
is done by the umpire, who takes charge of the game and decides 
any disputes. 

Promptly at the signal, 

"Ready," 
given distinctly by the umpire, the player who has been appointed 
starter gently swings the egg outward toward her opponent, and 
the egg is then "in play." The other player immediately tries 
to strike the egg with her racket, using sufficient force to break the 
shell or send it flying swiftly toward the first player, who in turn 
promptly hits or misses the egg. Whether struck or not, the 
egg will return to the other player, who will surely be able to 
strike it the second time it comes to her, if not the first. And so 
the egg is kept swinging rapidly back and forth between the two 
players until the shell is broken. With the breaking of the shell 
comes the beautiful shower of tissue paper which is sent flying 
through the room by the stroke, and the player who releases it 
wins a point in the game. 

When the First Egg is Broken 

a second one must be put in its place, and the unsuccessful con- 
testant has another opportunity to make good her record, playing 
with the same opponent. If the breaking of the second egg 
proves a tie — that is, if it is broken by the player who was at 
first unsuccessful — a third egg must be suspended and the same 



A Novel Easter Party 41 

couple continue to play until that, too, is broken. Then the 
unsuccessful player drops out of the game, and the winner of 
two points to his opponent's one steps aside to await his final 
play after the other couples have had their turn. Should one 
player win two points in succession the third is not played, for 
two points lost sends a player out of the game. 

When all the couples have played, the successful competitors 
alone remain in the game. These form new couples and play 
as before, each in his order. This time there is but one egg for 
each couple, and the player who fails to break the shell must 
withdraw, giving his place to the next player, while the successful 
one holds his place until another breaks the egg. In this way 
but one player comes out victorious. 

When space allows two eggs to be hung in the doorway and 
two couples take part at the same time, there must be two um- 
pires, one for each couple, for in the excitement of the fray, one 
person cannot watch all the play. 

RULES OF THE GAME 
i. The umpire may not take part in the game while acting as umpire. 
She shall keep tally and decide all questions which arise regarding the 
game. 

2. The egg shall not be struck except with the flat face of the racket. 

3. When an egg is broken by striking against the surrounding wood- 
work, or in any other manner other than with the face of the racket, it 
counts one against the player who made the stroke and scores one for his 
opponent. 

4. Two points scored during one play declares the successful com- 
petitor the victor. 

5. A play consists of any number of trials until the two eggs are 
broken. 

6. Two eggs shall constitute a play when there is no tie; in case of a 
tie there shall be three eggs. 



42 Parties, Shows, and Entertainments 

Butterflies as well as eggs are appropriate for Easter and the 

Butterfly Game 

will come in well as second on your programme. 

All the girls are butterflies in this game and all the boys are 
collectors. The collectors are stationed in different parts of 
the room and stand some distance, at least six feet, apart. They 
may not move their feet to step in any direction, but, standing 
in one spot, may reach out on all sides with their hands as they 
try to catch the butterflies flitting past them. 

Each Butterfly 

must lift the skirt of her dress with both hands and move it back 
and forth as she flies among, around and between the collectors. 
This moving of skirts as mimic wings makes the game appear 
very pretty to the onlookers, and the collectors find it difficult to 
grasp the fluttering draperies. 

It is the Part of Every Collector 

to catch as many butterflies as possible and as each outterfly is 
caught she must stand close behind the collector to whom she 
belongs. The second captive stands behind the first with her 
hands on the shoulders of number one. The third takes her place 
behind number two with her hands on the shoulders of number 
two and so on to 

The Last Captive 

The game becomes exciting when but one free butterfly is 
left, darting about, skilfully evading the outstretched hands of the 
collectors, each intent upon capturing this last and greatly 
valued prize. For in the count the last butterfly captured is 
equal to two of the others. 



A Novel Easter Party 43 

The game ends when all are caught and the winner is he who 

possesses the greatest number of butterflies, counting the last one 

caught as two. 

The Magic Dye Kettle 

will be a unique, amusing and mystifying feature in the enter- 
tainment of your guests. For this some preparation is necessary. 
First you must have the tinsmith remove the bottom of a 
new, inexpensive, tin kettle, one that has a lid to fit and will hold 
several quarts. Then in the bottom of a square wooden box, 
about as large as a small table, have a hole cut a trifle smaller 
than the bottom of the kettle. Knock out one side of the box, 
stand it bottom side up so that the round hole will be on top, 
place it in the position it is to occupy, and throw over it some 
kind of a cover which will reach to the floor and hide the box 
completely on all sides. In this cover you must cut a hole to 
fit the hole in the box, and place the hole in the cover directly 
over the hole in the box. Place the lid on the kettle and stand 
the kettle over the hole and it will appear to be merely sitting 
on the table, as there will be nothing to indicate the opening 
beneath. 

Under the Box, 

ready for use, place a shallow tin pan larger around than the bot- 
tom of the kettle, and cover the bottom of the pan with sawdust; 
also place under the box a basket filled with hard boiled eggs 
of various colors, three eggs of each color. 

In another part of the room have ready another basket con- 
taining the same number of hard boiled eggs but all uncolored. 

While the Butterfly game is in progress let some one who is 
in the 

Secret of the Magic Kettle, 
hide under the improvised table and at a given signal lift the 
shallow pan and hold it tightly under the hole in the box. 



44 Parties, Shows, and Entertainments 

Explain to your guests that you have for the occasion a magic 
kettle, which, while they wait, will color eggs for them without 
water and without heat. Pass around the basket of uncolored 
eggs and invite each one to take an egg. Tell three members of 
the party to decide upon a color they wish their eggs dyed (all 
three must be the same color) then, as you raise the lid, to shout 
the color in unison, and carefully place their eggs in the kettle. 

As soon as the eggs are in quickly replace the lid and wave 
your hands back and forth over the kettle. Apparently you will 
be working a charm, but in reality you will be keeping the too 
curious from taking a peep into the kettle to see what process is 
going on. 

When the uncolored 

Eggs are in the Kettle 

and the lid is on, your assistant underneath must gently and 
without the least noise lower the pan she is holding, and in which 
the eggs have been deposited, remove the uncolored eggs and 
substitute three others of the color she has heard wished for. 
Then lifting the pan she must again hold it close under the 
kettle until 

The Colored Eggs are Taken Out 

and three more put in to be dyed. 

Give your assistant several minutes to make the exchange of 
eggs, then lift the lid and allow the eggs, so quickly and so mar- 
vellously colored, to be lifted out by their owners. 

When all the eggs have been dyed lead your guests from 
the room without allowing any investigation of the workings of 
the magic kettle and while they are out have box, kettle and 
eggs taken away so that the charm of mystery may not be broken. 



CHAPTER IV 




A DOORWAY PUNCH AND JUDY SHOW 

VERYBODY laughs when he sees 
Mr. Punch, with his funny long nose, 
and his wife Judy in her frilled cap. 
The show is all fun, every bit of it ; 
even the little baby seems to under- 
stand and appears actually pleased 
when Punch and Judy toss him back 
and forth, as they might a rubber 

/^^ I il MiiBMiiil l^^ii^ ^aU- When the infant happens to 
IM- - ^ ^^^^^^^SS ^^^^ f a n ? he is never hurt ; the accident is 

but a good joke and part of the sport. 
One great charm about the show is, that you can make Punch 
and his family do exactly as you please and say exactly what you 
want them to say, for so long as you are showman they yield 
implicit obedience to your will. 
The only material necessary for 

The Stage 
will be a piece of plain solid- colored cloth, which must reach 
across an open doorway, be tacked upon each side and ex- 
tend down to the floor, where it should be again fastened that 
there may be no danger of its blowing aside. Put this curtain up 
high enough in the doorway to reach a trifle above your head, for 
you must be completely hidden from the audience. The full- 
page illustration shows the back of the stage and gives the man- 
ner in which Punch and his family are made to move about in 

45 



46 



Parties, Shows, and Entertainments 



the opening between the top of the doorway and the curtain. 
It is this opening which constitutes the stage. The illustration 
also shows a band of cloth stretched across the extreme top of 
the doorway, and short side curtains added to the outside of the 
stage to improve its appearance. 

To Make Punch's Head, 

cut a piece of unruled white writing-paper eight inches long and 
five inches wide, to allow a generous margin, and on it draw Fig. 




A 
A 


B 

B 


I 


B 
B 


A 


A 






Fig. 42. — Draw Punch's head like this. 

42, making the head 6 inches across one way and 4 inches the 
other. Paste a strip of thin cloth over the neck which includes the 
entire space between the four corners marked A-A-A-A, and 
over this cloth paste two more cloth strips in the spaces marked 
B-B and B-B. The cloth strengthens the neck and prevents it 
from tearing while the head is in motion. Carefully mark the 



""■'■. 




Behind the Scenes in the Doorway Punch and Judy Show, 
47 



A Doorway Punch and Judy Show 49 

features, copying them also on the right-hand side of the face (D). 
Cut out the head, including flaps, and the ears along their outer 
edge. Cut the line of the chin into each side of the neck as far as 
the second strips of cloth (B-B and B-B). Roll the neck until it fits 
loosely on your first finger, then paste it together like a ring. Paste 
the tips of each side of the nose together, also those of the chin. 

Bend the flaps at the dotted line on the edge of the face and 
paste the other side of the face part way over the flaps, covering 
the spaces C-C-C-C. If the head seems too narrow, bend the 
paper out to make it appear wider. Roll an 
extra piece of writing-paper and fit it inside the 
head. Be sure that the roll lies evenly and is 
close up against the inside of the head; then 
bend out the ears, paste the paper lining in place 
and paint the entire head pink except the eyes 
and teeth. When the first color is dry, paint the 
markings on the ears red ; the hair and eye- 
brows, markings for teeth and the eyes black ; the Fig 43 ^ he top of 
lips, nose, chin and cheeks a brilliant red. his head is °P en - 

The top of Punch's head is open (Fig. 43), but we will cover 
it with a high, pointed cap, and the uncovered space where the 
chin comes forward beyond the neck will not be noticed when 
Punch is dressed, for the double ruffle around his neck hides all 
deficiencies. Make each arm of a roll of writing-paper pasted 

Q_ ^_^^ together along the edge. The roll 
— v must be about four and three- 
» — -- S quarter inches long. Flatten and 

Fig. 44.— Make the hand in the shape paste together one end of each 

arm, and on these flat ends draw 
the outline of a mitten, which will serve as a hand ; when the paste is 
dry, cut out the mitten (Fig. 44). Paint the hands and arms pink. 




50 



Parties, Shows, and Entertainments 








J 


— 1 




1 


2/2 In. 






z 








N 


8 In. 





The arms should 
fit loosely over the 
ends of your thumb 
and forefinger. Fig. 
45 gives the pattern 
of 

Punch's Dress 
Make it much larger, 
according to the di- 



Fig. 45. — Cut Punch's dress after this pattern. 

mensions given on patterns, and let it be 
of soft material in very bright, gay colors. 
The front and back are exactly alike, and 
the two pieces are sewed together at the 
sides, the seams extending to within two 
inches of the bottom of the skirt, leaving 
the sides split up that distance. Slide the 
paper arms up in the sleeves and fasten 
them in place at the top with a drop or 
two of glue. Make a wide, white double 
ruffle, slip it on Punch's neck and push it 
up against the head. Then gather the top 
of the dress so that it will fit Punch's neck, 
and fasten it on under the ruffle with strong 
glue, allowing the bottom of the paper neck 
to extend down below the gathered top of 
the dress. Make a high cap of brilliant 
Fig. 46.— Your funny old Punch, red cloth to fit Punch's head; trim it with a 



A Doorway Punch and Judy Show 51 



turned up band of vivid green edged with white and glue the cap 
to the head. With a stitch or two or an elastic band fasten an 
inked paper lighter in his right hand to serve as a stick. 

Now slip the first finger of your left hand up in Punch's neck, 
run your thumb and second finger of the same hand in the paper 
arms, and make Punch turn and twist his head while he gestic- 
ulates with both arms. You will laugh before you know it, and 
be delighted with your funny old Punch (Fig. 46). 

Make Judy's Head 

by the pattern used for the head of Punch, but omit the ears and 
cut off the ends of both nose and chin. They should not be so 
long for Judy. Strengthen the neck with cloth and fasten the 
head together as you did that 
of Punch. Make blond hair 
of two pieces of yellow tissue 
paper pasted in narrow irreg- 
ular folds on the inside of the 
top opening of the head ; then 
bring over and down on the 
outside as if combed loosely 
over Judy's ears. Paste the 
lower ends of the paper hair 
above the neck on the back 
of the head. Paint Judy's 
eyes blue. In all other respects 
than the details mentioned, 
make Judy's head the same as 
you did that of Punch. Make 
her arms and hands the same, 
the double ruffle for the neck Fig. 47.— Judy wra look uke this. 




52 Parties, Shows, and Entertainments 

the same, the dress the same cut but of contrasting color. Cut 
Judy's cap from thin white material, make it circular and gather 
it entirely around, about one inch from the edge. Attach strings 
of the same material, and tie them under Judy's chin (Fig. 47). 

The Baby 

must be quite light in weight. Make it of a piece of pink tissue 
paper about eight inches square. Draw the paper through 
your hands several times to crush it into small folds, then, while 
it is crushed together, double at the middle and wind a thread 
around near the folded end to form a neck, leaving half an inch 
above for the head. Gather a piece of white tissue paper around 
the baby's neck to make its dress, and cut a straight strip of 
white tissue paper for the baby's cap. Lay it flat on top of the 
head and bring the two ends down straight on each side of the 
face. Gather the cap at the back, add strings and fasten it on 
the baby's head. Features may be marked on the face with 
paint, but be very careful not to use much water with the colors, 
for water will melt the tissue paper face. 

When All is Ready 

slip Judy on one hand, Punch on the other hand, and make 
them talk and act to the best of your ability. Assume deep tones 
of voice when you talk for Punch, and high, shrill tones for Judy ; 
make the play short, full of life and action, and as funny as 
possible. Of course, you will have to practise with Punch, 
Judy and the baby in front of a mirror before giving your show 
in order to see how they will look as you make them act, and 
to learn just how to manage them. 



A Doorway Punch and Judy Show 53 

Drama of Punch and Judy 

Punch (below) : Wait a minute, sha'n't be long putting on my new 
boots (pops up singing). Trala-la-la-la-la-la-la. Hello, there! Watch 
me dance (dances, singing a lively tune to music; music stops and he leans 
down, calls below). Judy! Judy! Judy, come here. 

Judy (pops up): Well, Mr. Punch; what do you want? I'm dread- 
fully busy just now. 

Punch: Oh! nothing, only want to know if you'd like a box of 
French candy, the delicious kind that melts in your mouth; but never 
mind, I can get it for you next Christmas (Punch turns his back and walks 

off)- 

Judy (running after Punch): Punchy-munchy, I wish I had it now; 
do, Punchy, give it to me. 

Punch (turning) : You must give me a kiss first (they hug each other 
and have a merry time dancing and singing to lively music). 

Judy: Oh! Oh! I forgot the baby. I'll go and get him (disappears). 

Punch (calling after her) : Well, hurry up, and don't forget our dog 
Toby (calls). Toby! Old dog Toby — come and jump over my stick 
(bangs his stick about, striking everything, accidentally strikes his nose). 
Oh! Oh! Oh! my poor nose, my best Sunday nose, my beautiful long 
nose (calls). Judy! J-u-d-y, where's the baby? (Enter Judy with baby). 

Judy: Here, Punch; catch him (tosses baby to Punch, who catches 
him; dances about, then tosses the baby back to Judy, who fails to catch him). 

Judy: Punch! Punch! Where's the baby? 

Punch: Gone down-stairs. I'll fetch him up (disappears). 

Judy: Just think! the little dear went down-stairs all alone! 
(Punch reappears.) 

Punch: Here's the little darling; pity his nose is not longer. Do 
you think it will grow, Judy? (baby cries; Punch tosses him up in the 
air singing). He didn't dance, dance, dance; he didn't dance all day 
nor yesterday. 

(Judy tries to catch the baby) 



54 Parties, Shows, and Entertainments 

Punch: Take him! Now we will both sing while I keep time with 
my stick. Begin, I say; quick, hurry, quick! (Judy runs away with 
the baby wbile Punch is talking and not watching her; turning, Punch finds 
himself alone). 

Punch (calls): Baby! Baby! Come and see your daddy's beautiful 
nose (baby is tossed up from below). See! See! my boy can fly through 
the air (knocks with his stick, then calls). Judy! Why don't you come? 
(Judy appears with baby, walks back and forth). 

Judy: I must get this child to sleep. 

Punch: Nonsense, I'll amuse him (grabs child and disappears with 
him; baby heard crying, "Mama! I want my Mama!"). 

Judy: Just listen to that (waves her arms frantically around and 
disappears.) 

Punch (reappearing with a flag in each hand) : We haven't given you 
our flag dance. Judy! girl, come along. 

Judy (jumps up with a flag in each hand) : Hush, Punch, you'll wake 
the baby. 

Punch : Now let's dance. (The music plays and the two dance and 
sing some popular air, then together bow to the audience, saying:) Good-by 
little girls and boys, good-by, everybody. We've had such a good time. 
Good-by, good-by. 

The flags may be of home or store manufacture, but they 
must be fastened on paper sticks, made like Punch's paper-lighter 
stick. They can all be American flags, or three other nations 
may be represented, or each flag can be of solid color, differing 
from all the others, as red, green, yellow and blue. 

If a companion will help with the show by taking complete 
charge of Judy while you attend to Punch, the management will 
be much easier, for then you will have only one doll to make talk 
and act. 



CHAPTER V 



HALLOWE'EN MERRYMAKING 



Novel Ways of Telling Fortunes 

HIS year the annual festival of the 
fairies is to be celebrated with 
wilder pranks and madder mys- 
teries than for many a long 
season, and if we enter heartily 
into the spirit of the fun and make 
preparations for them, the little 
folks will surely reveal many 
secrets the future holds in store 
for us. 

Ask the fairies, gnomes and 
elves to your Hallowe'en frolic; 
they will be delighted to come, though of course, you cannot in- 
vite them in the usual fashion. Instead of writing notes, you 
must braid three 

Invitation Rings of Grass — 

fresh grass is best, but the dried Will do — and hang the rings on 
bushes (Fig. 48), or lay them on the outside window-sill, making 
a wish on each grass ring as it is put into place. To insure the 
fulfilment of the wish, you must not see the rings again until 
after Hallowe'en. The fairy troupe will find the green circles 
as they come floating along through the air on gay-colored bub- 

55 




56 Parties, Shows, and Entertainments 

bles from the magic spring waters of Fairyland. During the last 
days of October fairies are always looking for such invitations. 

Here are some of the 
ceremonies and games 
newly revealed to me by 
the old witch who lives 
in the black clouds that 
sail southward on the 
northwest wind. 

Black Cats, 

the friends and com- 
panions of witches, are 
wonderful creatures to 
conjure with, but all 
cats can work a charm, 
and it is cats, or prefer- 
ably kittens, you must 
have for the first rite. 
There must be a pussy 

Fig. 48. — Hang the rings on bushes. . . .. r . . , 

in hiding for each girl 
and boy present at the Hallowe'en frolic. With different colored 
bright ribbons tie a tinkling bell around the neck of every cat, 
leaving one end of the ribbon one yard long. Seat your Hallow- 
e'en guests in a semicircle around the room. Ask them to sit 
quietly for a few moments, and suddenly put out the lights. 
With the room in total darkness let absolute stillness ensue for a 
second; then say very slowly and distinctly: 

"Hold out your right hand and there will come to each one 
of you a disguised gnome or fairy. Be very gentle and kind to 
the little creature (here pause for a moment); for if by any 





s 



M 



Hallowe'en Merrymaking 57 

chance ill befall the disguised sprite the fairies will be angry 
and will do nothing for you until next Hallowe'en." Again 
pause; then say: "So I caution you once more — be kind and 
gentle." 

Have some one keep the kittens near by, in readiness, so that 
you may lead all into the darkened room without a moment's 
delay. Hold the ends of the ribbons in one hand while with 
the other you take one ribbon at a time, and as you pass along 
the line place it in the outstretched hand of each successive 
guest, saying as you do so, "Hold fast this magic clue." The in- 
stant the last ribbon has been given to a guest, turn on the lights 
and while the girls and boys are looking with surprise at the 
little creature they hold captive and laughingly exchanging com- 
ments, you must pin a piece of white tape on the floor across 
one end of the room about four feet from the wall. Request the 
guests to kneel, with their funny little gnomes, in a row on the 
enclosed space next to the wall, and face the tape. Announce 
that there will now take place the race of fate. Each player 
must hold his or her pussy with its fore paws directly on the tape, 
and at a given signal all the girls and boys must exclaim in uni- 
son, "Run!" at the same time releasing the kittens that they may 
scamper away in any direction they choose. The guests should 
remain stationed back of the tape line and watch them as they 
scatter wildly over the room trailing their bright streamers. No 
one may touch or in any way molest a kitten after the signal has 
been given to let them go. The girl or boy whose pussy first 
reaches the centre of the room, which has previously been marked 
with a second strip of tape, will be the first to marry. 

Do not wait for the other kittens to make the goal, but gather 
up the little creatures and lead them away to be seen no more, 
or the spell will be broken. 



58 Parties, Shows, and Entertainments 




Old shoes possess strange and occult powers as we all know, 
else why should we throw them after the coach of a newly wedded 
couple? So we must have a 

Pair of Old Slippers 

After the last cat has disappeared, bring out the slippers; any 
kind except toy ones will do. Place the slippers on a sheet of 

white paper laid on the top of 
a table where all present may 
see. 

Explain to the girls and 
boys that they must take one 
turn each in trying their for- 
tunes by putting one slipper 
crosswise on top of the other, 

Fig. 49-Place one slipper on top of the other. ^ Q ^ right ^ up (Fig< ^ 

and while holding them so, repeat the following verse : 

These slippers I toss into the air. 
Will my love be dark? Will my love be fair? 
What future is mine? I pray you show 
By the turning of sole or the pointing of toe! 

Lift the paper and give the slippers a slight upward toss to 
fall on the floor as they may, and the manner in which they 
reach the floor indicates the fortune: 

When both slippers land upside down and do not touch, the 
player will be a great traveller and have no settled home. 

When both slippers land right side up and do not touch, the 
player will go on the stage. 

When the right slipper is upside down., the future mate will 
be cross and selfish. 



Halloween Merrymaking 



59 



When the left slipper is upside down, the future mate will be 
unselfish and kind. 

When the slippers are crossed there will be an early marriage. 




Fig. 50. — Decided difference of opinion 
between husband and wife. 



Fig. 51. — Very congenial. 



When the toes of the slippers point in opposite directions, 
there will be decided difference of opinion between husband and 
wife (Fig. 50). 

When the toes of the slippers point in the same direction, 
husband and wife will be very congenial (Fig. 51). 

When the soles cross, lying one on top of the other, the player 

will own a gold mine. 

* 

Cups and Bowls 

have supernatural power on this night and exercise a peculiar 
influence over marbles placed under them; consequently you 
must get three china cups and three marbles, a crystal (clear glass 
marble), a commie (ordinary brown marble), and a china (a white 
marble crossed by different colored lines). 

Set three cups in a row (Fig. 52), under one place a "crystal," 
under another a "commie," and under the last a "china." Blind- 
fold each player in turn and let the girl or boy raise one of the 
cups. If the marble under the lifted cup is the crystal, the hus- 
band or wife will be young and life will be easy and full of sun- 
shine. If it is the china, the husband or wife will be middle aged 



60 Parties, Shows, and Entertainments 



and life will be hard but famous. If the commie, the husband 
or wife will be old, and life will be filled with adventure. The 




Fig. 52. — Set three cups in a row. 

marbles must be changed into different cups after blindfolding 
each player. 

As no Hallowe'en ceremonies are complete without 

The Apple, 

there must be a dish of apples and a box of wooden toothpicks. 

With the apples and toothpicks you can ascertain for your 
guests the nationality of their future mates. 

Give every one an apple and a wooden toothpick. Each 
player may push the toothpick in any part of the apple ; the spot 






Fig. 53.— You will marry 
an American. 



Fig. 54. — Your future partner 
will be English. 



Fig. 55- — Your future mate 
will come from France. 



occupied by the toothpick tells the fortune, but the apple must 
be kept in one position, and on no account turned after the 
toothpick is once in. When all have inserted the toothpicks 



Halloween Merrymaking 



61 



each boy and girl in turn must hold up his or her apple that all 
may see while you read the fortune. 

When the toothpick stands straight and erect in the top of 
the apple, the life partner will be an American (Fig. 53); if in 
the left side of the apple, the mate will be English (Fig. 54) ; in the 
right side, French (Fig. 55), in the back, German; in the front, 
Italian; sideways at the top of the apple, the mate will be a 
West Indian; sideways in the right side, the mate will be a Jap- 
anese ; in the left side, a Russian ; in the front, Spanish. When 
the toothpick breaks the player will not marry. 

Now comes the fun of forecasting to learn where the wedding 
will take place, so prepare for 



The Wedding Race 

For this you must have a 
card like Fig. 56; fill in the 
spaces under "The way you go" 
with the following words ac- 
cording to the numbers: (1) 
Walk slowly, (2) Walk back- 
ward, (3) Walk on toes, (4) 
Walk on heels, (5) Run, (6) 
Walk fast, (7) Skip, (8) Walk 
without raising feet, (9) Run 
on toes, (10) Walk on toes of 
one foot and the heel of the 
other, (11) Run on heels, (12) 
Walk sideways. 

In the spaces under "Wed- 
ding" insert: (1) Church, (2) 
On shipboard, (3) Boarding 



INITIALS 


N° 


THEWAHOUGO 


WEDDING 




1 








2 








3 








4 








5 








6 








7 








8 








9 








10 








11 








12 







Fig. 56. — You must prepare a card like this 
for the Wedding Race. 



62 Parlies, Shows, and Entertainments 

house, (4) Hotel, (5) Home, (6) Friend's home, (7) Top of moun- 
tain, (8) Minister's house, (9) Tent, (10) Out of Doors, (11) 
Courthouse, (12) Cave. Inform the guests that each in turn 
must go the length of the room. He or she may walk slowly, 
walk fast, walk sideways, walk backward, walk on toes, walk 
on heels, walk on the toes of one foot and the heel of the other, 
etc., etc. 

If many guests are present, start two at a time crossing the 
room, one from each end. Write the initial of every player on 
the line of the card corresponding to the manner in which he or 
she crosses the room; for example, if the first player's name is 
Barbara Carter, and she runs across the room, put down her 
initials B. C. on the line No. 5 on which is written the word 
"Run." If the second player's name is Jamie Bartlett and he also 
runs write his initials J. B. on the same line of the card, but, 
should Jamie decide to go backward across the room his initials 
would then belong on line No. 2. When all the girls and boys 
have crossed the room, and quiet again reigns, read to them the 
various places where the different players will be married, for in- 
stance, if referring to your card you find the initials of Jessie 
Douglass on line No. 12, you should read, "Because Jessie 
Douglass walked sideways across the room, she will be married 
in a cave. Won't that be romantic ? " Always add some pleas- 
ant remark after reading each record ; such remarks make things 
run easier and add to the fun. Probably you will be able to 
think of many delightful little speeches, but in case you find any 
difficulty, the following list may be of some assistance. Remark 
for line No. 1 : There could not be a better place. No. 2, How 
charming. No. 3, Better there than not at all. No. 4, I wonder 
if that will be a runaway match. No. 5, The dearest spot on 
earth. No. 6, A friend in need is a friend indeed. No. 7, I 




The Vesper Rite. 



63 



Halloween Merrymaking 65 

hope we will all be invited. No. 8, An elopement, you may be 
certain. No. 9, Delightful. So gypsy-like. No. 10, I am sure 
there will be room for us all at this wedding. No. 11, Many a 
happy marriage has taken place in a court-house. No. 12, Won't 
that be romantic? 

The communicative old witch of the northwest wind im- 
parted so many methods of Hallowe'en fortune telling you can 
take your choice. Here are the rest just as she told them. 

The Vesper Rite, 

if observed with due solemnity, will disclose the principal char- 
acteristics of any one submitting to the test. 

Take six large potatoes and cut them in half. Shape each 
half into a candlestick by scooping out a round hole in the small 
end, making it large enough to hold a candle. 

Place a half candle in each of the potato candlesticks and pin 
around each candle a strip of paper on which is written one 
word indicating a trait of character, such as "modesty," "bash- 
fulness," "vanity," etc. 

Then form a magic ring of the candles in the centre of a 
dimly lighted room. The ring should be about three feet in 
diameter. 

Blindfold one of the players and have the entire party join 
hands and run three times around the lighted candles. 

Then, leaving the blindfolded player standing two feet from 
and facing the ring, let the others fall back while a chair is placed 
before her, a fan is handed to her and she is told to make three 
trials at fanning out the candles over the back of the chair. 

After the third trial she must remove the bandage from her 
eyes and examine the papers on the candles that are left burning, 
reading aloud the words which reveal her character. 



66 Parties, Shows, and Entertainments 

To avoid any danger of skirts catching fire, care must be 
taken that no one approaches the candles too closely after they 
are lighted. 

Another game is called the 

Bean Bag Test 

Into a bag that will hold four or five quarts, pour three quarts 
of dried beans and in their midst hide a ring, a thimble and a 
brass button. 

Have ready a bright new tin cup and let each player in turn 
dip into the bag and take out a cupful of beans which must be 
emptied into a plate. 

If either a girl or boy finds the ring in the beans it is a sign of 
an early marriage. If a girl gets the thimble she will be an old 
maid, and when the thimble falls to the lot of a boy he will marry 
an old maid. 

The brass button in a girl's cup of beans denotes that she 
will marry a widower, but in a boy's cup it is a bachelor's button 
and shows that he will be a bachelor all his life and will sew on 
his buttons himself. 

Each player can have but one trial, and if only beans fall to 
her share, it signifies that her fate is still undecided. 

Here is another test called 

The Witch Screen 

Across the end or corner of the room fasten a breadth of in- 
expensive cloth for the witch screen; old muslin or any material 

most convenient will 
answer the purpose if 
not too thin. Through 
the lengthwise centre 

Fig. 57. — Through the lengthwise centre qf the cloth cut 

two slits for each player, of the cloth CUt tWO 



Halloween Merrymaking 



67 



slits for each player. Fig. 57 has eight slits and is intended for 
four players. Seat the company in a row near to and facing the 
witch screen, adjust it so that the slits will come on a level with 
the hands of the players, then, standing behind the screen and 
looking over the top, say, "I have some wonderful treasures 
which the witches have loaned us for this evening, but, as the 
objects are very valuable and must be returned, I ask that you 
use the utmost caution in handling them, and take great care not 
to drop or break any of the things while passing them from one 
to another down the line. 
"The first charm is 

A Piece of Lava 

brought from Mt. Pelee in a 
witch's pocket (Fig. 58). If 
you will all kindly slip both of 
your hands through openings Fig - s8 -- The laYa from Mt - Pelee - 

directly opposite you in the witch screen (Fig. 59), you may have 
the pleasure of passing the lava from one to another. Receiving 
and giving the lava according to rule means a successful year, but 
woe to the one who drops it, for to him will come disappointment." 





Fig. 59. — Slip yeur hands through openings in the witch screen. 



68 Parties, Shows, and Entertainments 



After you have made your little speech, sit down and, hidden 
by the screen, take from a tray at your side a hot potato (Fig. 58), 
which has been in the oven only long enough to become thor- 
oughly heated; place it in the hand at the head of the line with 
the words, "I give you the charmed lava; pass it on." Though 
the girls and boys may not see what they have, they can assuredly 
feel it, and there comes in the fun, for each in turn will be sorely 
tempted to drop the hot potato and yet not dare to do so, and 

no hint being given, the next neigh- 
bor will in turn be equally startled. 
When the lava reaches the last 
player, some one back of the screen 
at that end must receive the precious 
object and store it away on a tray. 
As soon as the hot lava is dis- 
posed of, arise and tell the company 
that the next charm is a piece of 




Fig. 60. 



-The wonderful Japanese 
crystal. 



Wonderful Japanese Crystal 

(Fig. 60). It will enable them to see and understand everything 
more quickly and clearly ; it will also 
gain new friends and delightful sur- 
prises. To drop the crystal brings 
dulnessof comprehension, no friends 
and no surprises. Use a piece of ice 
for this. The third charm is a rare 
natural history specimen, called 



The Baby Porcupine 

(Fig. 61). The little creature signi- 
fies difficulties successfully Over- 




Fig. 61. — The baby porcupine. 



Halloween Merrymaking 69 

come, but if dropped the fortune will be reversed. The porcu- 
pine is in reality a chestnut bur. 

A Harmless Serpent 

forms the fourth charm; it renders all girls and boys proof 
against fear of wild animals, and imparts the faculty of taming 
and making pets of many inhabitants of the forest, but the charm 
will be lost with one failing to pass it on its way. The serpent is 
a snake made of soft dough. 
One of the best fairy gifts is 

A Treasure from the Great Blue Sea 

It means a joyous ocean voyage to new and beautiful lands, but 
if dropped, the player will encounter storms and perils. Hand 
the first player a slippery raw oyster. 

When all the charms have been tested, announce that before 
returning the treasures to the witches you will place them on 
exhibition; then turn back the witch screen and let the girls 
and boys gather around the tray of queer charms, where they 
can laugh and exchange comments to their hearts' content. 
The effect of the witch screen may be enhanced by using a 
breadth of brilliant-red muslin and pasting on it black moons, 
stars, cats, etc. Erect at each end of the screen a comic pump- 
kin lantern head, with white paper fastened on the inside over 
the features to light them up, instead of a real light placed inside. 
Slide each pumpkin head on the end of a pole, and rest the pump- 
kin firmly on four long, strong nails driven in around near the 
top of the pole. The lower end of each pole may be steadied 
and supported by being inserted in a hole bored through the 
centre of a heavy piece of plank, where it must form a very tight 
fit ; or you can sink the pole into a deep pail of stones and earth. 



70 Parties, Shows, and Entertainments 

If it is possible to have the only light in the room placed back of 
the screen, the effect produced will add to the mystery and en- 
chantment. Make all decorations as funny as you like, but 
avoid anything grotesquely unpleasant. Let every item be agree- 
able, from the least to the most important arrangement for the 
evening's fun. 

A very pretty way of telling fortunes is with 

Fairy Airships 

made of feathers. Take as many fluffy feathers as there are 
girls and boys in the party and paste on each feather a prophecy 
written on a bit of paper, such as: 

Yes, I'll try, 

No, When the time comes, 

Sometime, Of course, 

Possibly, Three times, 

Never, Before you know it, 

At twenty-five, Not if I can help it, 

Probably, Certainly, 

Depends on myself, Doubtful, 

If I can, Surely. 

Put all the fairy airships into a pasteboard box-lid, which 
you have previously punched full of holes, and, standing on a 
stool or chair, hold the box-lid high in the air while you slowly 
and impressively say to the company: "These fairy airships 
will decide your fate regarding marriage. Will you marry?" 
At the word "marry" launch the ships of fate by fanning vigor- 
ously under the box-lid with a large palm-leaf fan, which will 
send the ships flying in every direction; as they sail through 
the air each player must endeavor to catch one before it falls. 

When order has been restored and all have their airships, each 



Halloween Merrymaking 71 

girl and boy in turn must read aloud the prophecy brought by 
the fairy vessel. 

All the party will enjoy the 

Blarney Stone Game 

Place a large, clean stone on a doily-covered fancy plate which 
rests on a table in the centre of the room, and tell your guests 
that a certain spell cast on the famous Blarney Stone in Ireland 
caused the virtues of that wonderful stone to be transmitted to 
the stone in the very room where they stand, and that if a girl or 
boy, when blindfolded, can walk up to the table and kiss the 
Hallowe'en Blarney Stone, she or he will ever after be jolly and 
happy and prove a most agreeable companion. Then tie a hand- 
kerchief across the eyes of each of the players in turn and let 
them walk up to and try to kiss the stone before the witches come 
to take away the magic spell, which they will do long before the 
clock strikes twelve at midnight. 

During the evening be sure to try fortunes by the 

Fortune Jingle 

On different sheets of paper write one of the following verses: 

"One is good fortune, 

Two a light heart, 
Three is a carriage, 

Four is a cart, 
Five is a new dress, 

Six, a new hat, 
Seven is a pet dog, 

Eight, a pet cat, 
Nine is a letter, 

Ten is a pleasure, 
Eleven is a great joy, 

Twelve is a treasure." 



12 Parties, Shows, and Entertainments 

Place each verse in a separate envelope and hang all on a 
string stretched and tied to the backs of two chairs. Distribute 
squares of paper each marked with a number beginning at num- 
ber one. The player receiving number one has first choice of 
envelopes from the line. Two brings second choice, and so on. 
When all missives have been taken and the signal given for 
opening the envelopes, the player receiving verse one reads 
aloud, "One is good fortune"; immediately after the person 
with number two reads, and the other verses follow in numeri- 
cal succession, every envelope bringing its gift to the recipient 




74 



CHAPTER VI 
DANCE OF TITANIA, QUEEN OF THE FAIRIES 

ITANIA is a graceful little fairy, dan- 
cing as though she had learned the 
art from the bending of the grass in 
a summer breeze, the swaying of 
the trees or the flitting of butterflies 
from flower to flower. Light, airy, 
with gossamer wings and filmy 
dress, looking as though she needed 
nothing more substantial than sil- 
very moonbeams to dance upon, the 
little queen leaves her home in the 
deep, wild woods and comes to do your bidding. 




Have Titania's Stage Ready 

that she may not be kept waiting, for queens and fairies will 
brook no delay (Fig. 62). Find a wooden box 18^ inches long 
by 13 inches wide or larger (Fig. 63). With a heavy hammer 
or a hatchet pry up and knock off the top and one of the long 
sides (Fig. 64). The open side forms the front of the roofless 
stage. 

The coloring of the stage should be a light sage green. If 
possible, procure this color in cartridge wallpaper wider than 
the stage With a string measure the distance across the back 

75 



76 Parties, Shows, and Entertainments 



wall of stage from top to bottom (A to B Fig. 64), continue the 
measurement in the same straight line across the floor of the 
stage from back B to front C. After allowing five extra inches 




Fig. 62. — Titania's stage. 



for turning the paper over the top edge of the back wall A and 
front edge of floor C, cut the length according to measurement. 






Fig. 63. — The wooden box for Titania's 
stage. 



Fig. 64. — Knock off the top and one of 
the long sides. 



To make the strip of green paper the required width measure 
the exact distance across the inside back wall from side wall D 
to side wall E, then fold the paper evenly along each lengthwise 



Dance of Titania 



11 



edge, making it the width needed; unfold and adjust the paper 
against the back wall over its top edge and over the floor of the 
stage. Cut short slits on each side of the paper where' the floor 
and wall meet, that the extra width may lie flat up against the 
side walls. Bend the top edge of the paper over the top of the 
back wall, again slashing a little on each side to make it fit top 
edge of wall. In the same way bend the paper over the front 
edge of the floor; see that the paper lies perfectly smooth, then 
fasten it in place with small tacks, using three tacks on the outside 
at the back, one at each corner and one in the middle ; two tacks 
where floor and wall meet, and three underneath front of floor. 
Measure the side walls, cut paper to fit and fasten the paper 
on the walls with as few tacks as possible. 

When the inside papering is finished, cover the outside of the 
stage with pretty cretonne. Make four inside wings, two for each 




Fig. 65. — Back wing Fig. 66. — Forward Fig. 67. — Fasten the wings to the side wall 
for stage. wing for stage. of the stage like this. 

side of the stage, to represent the foliage of trees. Cut two like 
Fig. 65, from paper of a darker green than the walls of the stage 
and reverse one of them that they may face each other. Then 
make two wings, like Fig. 66, from paper of a lighter green than 
the walls, and reverse one of these also. The walls of the stage 



78 



Parties, Shows, and Entertainments 



with the two sets of wings will make three different tones of 
green forming the background. Cut the wings long enough to 
extend up as high or higher than the side walls of the stage. 
Bend each strip lengthwise at dotted line and paste the bent 
margin of one wing from Fig. 65 on each side wall, running the 
wing up from the floor to the top of the wall about four inches 
from the back wall. In the same manner fasten the wings 
(Fig. 66) on each side wall three inches in front of the first or 
back wing (Fig. 67). 

Cut the arch (Fig. 68) of stiff pasteboard. The cover of 
a pasteboard box will do. Make the arch long enough to span 

the space across the front of the 
stage and let the lower edge of the 
curve in the centre of the arch be 
five and a half inches higher than 
its two ends (see dotted line, Fig. 
68). Cover both sides of the arch 
with green paper, gluing it on only along the edges. Tack the 
ends of the arch to the top of the two side walls (Fig. 69). 




Fig. 68.— The arch. 




69. — Tack the ends of the arch at the 
top of the two side walls. 



Fig. 70. — Pasteboard extension 
for front of stage. 



Dance of Titania 



79 



Cut two pieces of pasteboard like Fig. 70, making each six 
inches wide and almost as high from floor of stage as is the top 
of the centre of the arch. Paper these also with green, both front 
and back. Tack one piece of the pasteboard on the front edge 



r\ 



r\ 




Fig. 71. — Tack one piece of pasteboard on the front edge of each side wall of the stage. 

of each side wall of the stage, allowing it to extend out from and 
beyond the side wall (Fig. 71). Bore a hole with a gimlet through 
the centre of the back wall of the stage five inches up from the 
inside floor, and your stage will be finished. 

Make Titania 

(Fig. 72) of light-weight cardboard. When finished she should 
be ten inches in height from her toes to the top of her head. Fig. 
73 is the diagram of the body and arms, measuring three and 
five-eighths inches from top of head to lower edge of body. Cut 
the two upper portions of the legs (length two and one- half 
inches, greatest width one inch) from Fig. 74, and the two 
lower portions (length three and three-eighths inches) from Fig. 
75. Join the two parts of each leg together, according to the 



80 



Parlies, Shows, and Entertainments 



dots, with a strong thread and needle, and fasten with a knot 
on front and back, so that the two pieces will be strung upon the 




Fig. 72. — Titania. 

same thread and sandwiched between two knots of the thread. 
Attach the legs to the body in the same manner. The small 



Dance of Titania 



81 



circles A, A on the doll's body (Fig. 73) give the exact spots 
where the thread should pass through, and the curved line above 
each letter shows where the upper edge of the top part of the leg 
should reach. Dot B marks the point on the upper part of the 
leg (Fig. 74) where the thread goes through, joining the leg to 






Fig. 74- — Two upper 
portions of legs. 




Fig. 73. — Cut the body and arms of 
Titania like this. 



Fig. 75. — Lower part of 
legs. 



the body. Have all the joints of the doll securely fastened and 
only loose enough to move easily. 

Find a pretty head in some old paper or advertisement, cut 
it out and gum it on the pasteboard head. Remember, though, 
that the printed head must not be of very heavy paper, as the 
upper part of the doll should be lighter in weight than the lower, 
otherwise the figure will not balance. If you cannot find a head 
in colors, you must paint the printed black-and-white one; give 
the face, neck and arms a flat wash of light-pink water-color 
paint; color the lips and cheeks red, the eyes blue and the hair 



82 



Parlies, Shows, and Entertainments 



brown. Make the long stockings a darker pink than the light 
flesh tones, and paste slippers of gilt paper on the feet. 

Puncture a hole with a 
coarse needle through the 
centre of the belt-line (C. 
Fig. 76). For 

Titania's Costume 

make a skirt of plain white 
tissue paper. Cut it sixteen 
inches wide and three and 
a half inches long, after 
creasing the skirt by gath- 
ering up the fulness with 
your fingers and drawing 
the skirt lengthwise from 
top to bottom through 
your partially closed hand. • 
Gather the top of the skirt 
with thread and needle, and 
fasten it on the doll, then slit 
up each side from the lower 
edge to allow of the free 
motion of the doll's limbs. 
Make the dress of pink chiffon. Cut the dress skirt three and 
three-fourth inches long and one yard wide, press it in knife-blade 
plaits, running up and down, then gather and tie it on the doll 
over the white tissue-paper skirt. Do not attempt to hem any 
portion of the clothing, as the object is to keep it all light and 
airy. Fashion the waist of a smooth strip of pink chiffon tied with 
narrow pink ribbons at the shoulders and brought down to the 




Fig. 76. — String the doll together in this way. 



Dance of Titania 



83 



belt-line into a point back and front, and sewed in place. Form 
a silver girdle of the tinsel niching used on Christmas trees; 
place the tinsel around the Queen's waist, allowing the two free 
ends to hang down over the front of the dress. Glue a little of 
the same tinsel around the front of her dark hair, where it will 
shine like a crown of diamonds. Make Titania daintily hold up 
and out each side of her dress. Do this by stretching out the 
sides of the dress skirt and gumming the material to each wrist. 
Cut a scarf of pink chiffon four inches wide and sixteen 
inches long, fasten one end in each hand of the fairy Queen and 
let the scarf fall in a graceful loop. 

Queen Titania's Wings 

must be of the pink chiffon cut shawl shape, two sides straight 
and one bias (Fig. 77). Plait the bias edge (Fig. 78) and 

gum the wings in place on 

the Queen's shoulders at 

the back. 

Take a needle threaded 

with black thread, two or 

three yards long; run the 

needle through the centre 

of the belt-line of the 

dressed fairy at the point 

C (Fig. 76) ; then thread it 
through the gimlet hole at the back of the stage and tie a button on 
the end of the thread which extends outside of the back wall. Pull 
the thread on the inside of the stage until the button lies tight up 
against the outside of the back wall. Allow sufficient length 
of thread to bring the Queen within about three inches of the 
front edge of the stage, then make a knot in the thread immecli- 





-Cut the wings 



Fig. 77- 

shawl shape. 



Fig. 78.— Plait the 
bias edge. 



84 Parties, Shows, and Entertainments 

ately back of and another in front of the Queen to prevent her 
from slipping either forward or backward. Tie the long, loose 
end of the thread on a small empty spool, that it may be wound 
up and kept from tangling when not in use. 

Place the Stage on a Chair 

facing the light and, carrying the thread in your hand, take your 
station two yards or more away from and in front of the stage; 
then practise moving Titania by means of the thread until you 
can make her glide, pose and dance in many graceful attitudes. 
She will lean to the right and to the left, will stand on her toes, 
then curtsey, making her dress touch the floor; she will move 
gently and slowly, again faster and faster until her feet seem to 
fairly twinkle over the stage floor; she will pass back and forth 
almost as if floating from side to side of the stage, or stand in the 
centre and dance. Titania is ever fascinating, beautiful and 
graceful in all her movements. Ask some one to play on the 
piano while you make the fairy Queen dance and she will keep 
time to the music. When you have learned to make Titania 
dance her prettiest invite your friends in to see the little fairy. 



CHAPTER VII 




THANKSGIVING PARTY 

Apple, Orange and Pumpkin 
Games 

E must have six little yellow 
pumpkins for our new Thanks- 
giving game, but we may hunt 
high and low, far and near, for 
real ones the required size, and 
not find them, because natural 
pumpkins are much too large. 
So we shall have to make oranges and apples into 

Little Pumpkins 

Select apples about two inches in diameter, all as near of a 
size as possible and preferably somewhat flattened at top and 
bottom. Cut a 
square of 
orange - colored 
tissue paper 
and stand an 
apple, stem up- 
permost, on its 
centre (Fig. 
79). Bring one 
side of the 

tiSSUe paper Up Fig. 79. — Stand an apple on a square of paper. 

85 




86 Parlies, Shows, and Entertainments 



to the top of the apple and take a wee plait in the paper, at the 
same time smoothing it up from the bottom of the apple (Fig. 
80). Make several more plaits and bring the nearest corner of 




Fig. 80.— Take a plait in the paper. 



the paper up to the apple top. Continue plaiting the tissue paper 
around the apple (Fig. 81) while constantly smoothing it up from 
the bottom and over the apple until the apple is completely 
covered and all the edges and corners of the orange-colored 




Fig. 81. — Bring the nearest corner of the paper to the top of apple. 

paper are folded and brought together at the top of the apple 
(Fig. 82). Hold the covered apple in your left hand and with 
your right hand twist the ends of the tissue paper around the 
stem (Fig. 83). 




S>eo>.Td--> 



Playing the Pumpkin Game. 



87 



Thanksgiving Parly 



89 



Examine the apple and make sure there are no raised ridges 
in the paper and that the entire covering lies flat and smooth. 
Tie one end of a piece of brown thread around the base of the 





Fig. 82. — Constantly smooth it up from the 
bottom until the apple is covered. 



Fig. 83. — Twist the ends of the paper 
around the stem. 



stem. Wind the long end of the thread once tightly around the 
apple, giving it a twist around the stem to secure it in place (Fig. 
84). The thread must pass across the exact centre of the blos- 





Fig. 84. — Wind the long end of the thread 
tightly around the apple. 



Fig. 85. — Pinch a square of green tissue 
paper over the stem. 



som end of the apple. As you wind the thread turn the fruit and 
watch the thread that it may not swerve either to this side or 
that. A second time wind the thread around the apple, making 



90 Parties, Shows, and Entertainments 



the first encircling thread band double. Cross this double band 
with another double band, marking the apple into quarters, se- 




Fig. 86. — Tie a thread around the base 
of the stem. 




Fig. 87. — A little yellow pumpkin. 



cure the thread about the stem, and again wind it around the 
apple, dividing two opposite quarters each into two pieces. 

Divide all the quarters in the same way, then pinch a small 
square of bright green tissue paper over the covered stem (Fig. 85), 

smooth it down close and tight and 
tie a thread around the base (Fig. 86). 
Bend the extreme end of the stem 
until it curls, and the result will be a 
cunning little yellow pumpkin (Fig. 
87). Fig. 88 shows how the cross 
threads should meet at the centre of 
the blossom end of the fruit. 

An ordinary pastry- board about 
twenty- six inches long and nineteen 

Fig. 88. — Shows how the cross J ° 

threads should meet. inches wide must do duty for 




The Game Court 

(Fig. 89). Find the centre of the board by running two straight 
lines diagonally across from corner to corner, the spot where the 



Thanksgiving Party 



91 



two lines meet and cross marks the centre of the board (Fig. 90). 
Make a small circle two inches in diameter around centre spot, 
surround this circle with a larger circle seven inches in diameter. 
Erase the diagonal lines within the circles and run straight lines 





Fig. 89. — A pastry-board for the Game 
Court. 



Fig. 90. — Run two straight lines from 
corner to corner. 



radiating outward midway between 
the diagonal lines from the edge of 
the larger circle across the face of the 
pastry-board. With four more lines 
cut off the four corners of the court, 
number the divisions as in Fig. 91, 
and the game court will be finished. 
Stand the little pumpkins, at equal 
distances apart, on the larger circle 
of the court, and on the small circle 
stand a natural, large, round apple 
without tissue paper cover. 



\ 60 / 
'50 y" 


\ 45 y 

~"X 25 \ 


\y 15 

70 /x 


J 35 y 

/ 75 \ 



Fig. 91. — The Game Court is 
finished. 



92 Parties, Shows, and Entertainments 

The Game 

may be played by any number. The object of the game is to 
spin the apple so that it will hit one or more of the surrounding 
pumpkins and roll or shove them on to the highest marked di- 
visions of the game-court. 

Each player is allowed only one trial at a time, turns being 
taken successively by the different players. The spinning of 
the apple must always be started on the small central circle 
where the apple is stationed. When the apple rolls off the board 
the player may have another trial; if the apple rolls off on the 
second trial she simply loses her turn, there being no other pen- 
alty. When a pumpkin lands on one of the dividing lines it 
counts ten against the player. Often an apple will strike several 
pumpkins, sending them off on different divisions. Every pump- 
kin then counts the number in the division on which it stops; 
sometimes more than one pumpkin will land in the same division, 
and each pumpkin so landing counts the number in that division. 
When the apple sends but one pumpkin, the player scores merely 
the number of that one division on which it lands. After each 
play the pumpkins must be replaced in the circle ready for the 
next player. 

Five rounds constitute a game and the highest record scored 
wins. When played by sides there must be an equal number of 
players on each side. The side making the highest score wins 
the game. 

For the next game let all the players sit on the floor in a ring 
and by the light of only wee pumpkin lanterns tell a 

Rapid-Transit Thanksgiving Story 

The leader must begin the tale, which may or may not be original. 
He must speak for only a few minutes, then stop, when his right 



Thanksgiving Parly 93 

hand neighbor, without hesitation, must take up the story and 
carry it on for a few moments. In this way the story goes the 
round, each right-hand player in turn telling his part. Every 
player has the privilege of making his portion of the tale original, 
even though the preceding part may not be so. It is also the 
privilege of every one to change the story to a dream, or a fairy 
tale. Quotations may be introduced, verses recited, or snatches 
of song sung; in fact, the oftener the story is twisted and turned ^ 
the greater the interest; but there must always be some connec- 
tion between the part being told and that which has gone before. 
The entire romance must be finished before the light in the wee 
pumpkins burns out. If a player should fail to continue the 
story when his turn comes, he must pay a forfeit, and when the 
story is finished, redeeming the forfeits adds to the fun. 

If many guests are present, divide them into small groups 
for the rapid-transit story. 

Make a miniature 

Pumpkin Lantern 

for each girl and boy present. Take a symmetrical apple which 
stands firm and steady on the blossom end. Select the best side 
for the face, and with the small blade of a penknife cut on it a 
crescent with ends turned upward for the mouth. Cut a triangle 
for the nose, two small squares for eyes, and two short crescents, 
points turned upward, for eyebrows (Fig. 92). 

Turn the apple over and cut an opening in the back as shown 
at Fig. 93. Be extremely cautious not to break or tear the edges 
of the apple skin while cutting the features and back opening. 
With the small blade of the penknife inserted at the back opening 
cut away the inside of the apple little by little, taking great care not 
to drive the knife far enough into the apple to puncture the skin. 



94 Parties, Shows, and Entertainments 



When you reach the core, screw the large blade of the knife 
around until the core is sufficiently broken to allow of being cut 



-^ 





Fig. 92. — Cut features in the miniature 
pumpkin. 



Fig. 93. — Cut an opening at the 
back. 



away without danger of injuring the apple skin by accidental 
stabs. 

After most of the inside has been removed turn the apple 
around and look at the features; if you cannot yet see daylight 
through them, insert the small blade from the outside of the 
apple, through each feature in turn, and by degrees cut away 
the meat, without enlarging the openings of the different feat- 
ures. Should this prove ineffectual, again turn to the back of 
the apple and work from the inside, removing more of the con- 
tents and making the layer of apple thinner next to the skin. 
Then once more try through the features from the outside. 
This time the result should be distinctly clear openings for all 

the features. You cannot help 

smiling when you look at the 

apple now, for you see such a 

comical little face. 

Cut a short section from 

an ordinary wax candle (Fig. „ 

Fig. 94. — Cut a section J i ° Fig. 95. — Make the bot- 

from a candle. 94), shave down the sides, mak- torn larger than the top. 





Thanksgiving Party 



95 



ing the bottom heavier and larger than the top (Fig. 95). Run 
a pin through the centre of the candle from bottom to top; then 
pull it out. Fit the candle inside on the centre of the bottom of 
the apple, hold it in place while you run the pin up from the 
outside of the apple, through the skin and into the pinhole in 
the centre of the little candle. The pin should hold the candle 
firmly in place; if it does not do so, pull the pin out and see 
what is the matter; possibly the candle needs hollowing out a trifle 





Fig. 96. 



Orange Lanterns. 



Fig. 97. 



at the base in order to fit the slight rise in the apple on which the 
candle stands. Put on your thinking cap, examine and make 
the candle stand absolutely straight and firm. 

Manufacture all the other individual pumpkin lanterns in the 
same way, and when story-telling time arrives set a lantern in 
front of every girl and boy in the circle and light the candle in 
each little pumpkin. The effect will be charming and inspiring 
for the story-tellers. Oranges with all the pulp extracted also 
makes very pumpkin-like lanterns when cut in a similar way 
to the apple lanterns (Figs. 96 and 97). 

Anything may be given as 

A Forfeit 

and the forfeits are redeemed in the good old way. The leader 
is blindfolded and seated. A girl or boy stands back of the 



96 Parties, Shows, and Entertainments 

leader, and, taking one of the forfeits, holds it over her head, 
while repeating these words, "Heavy, heavy hangs over your 
head." The leader replies with the question: "Fine or super- 
fine?" If the forfeit belongs to a girl, the answer is "superfine," 
if to a boy, "fine." The same player adds, "What shall the 
owner do to redeem it?" The leader names a penalty, such as, 
kneel to the prettiest, bow to the wittiest, or, look angry, then 
smile your sweetest. The leader may inflict one of these, or any k 
other, making the penalty as funny as she desires, but it must 
never cause a player to feel in the least uncomfortable, for every 
girl and boy should be given just as good a time as possible, that 
all may return to their homes from the Thanksgiving games 
happy and pleased with their evening's fun. 




CHAPTER VIII 

IMPROMPTU MOVING PICTURES FOR 
THANKSGIVING 

HIS entertainment is one that girls can 
get up themselves, though of course 
boys may take part. It is very funny 
if well carried out and will give every 
one a hearty laugh, which we all know 
is a good thing after the Thanksgiving 
dinner. 

First make the poster, to be hung 
in a conspicuous place in hall or parlor. 
Print it in large black letters on a good-sized sheet of wrapping 
paper: 

There Will be To-night 

An Exhibition of 

The World-Renowned 

Moving Pictures 

Taken by Madam Moselle at Great Risk of Life and Property. 

No Expense or Effort Being Spared to Obtain the 

Real Characters and Settings 

of a 

Puritan Thanksgiving 

And Other Scenes from the Life 

of Our Forefathers. 

97 



98 Parties, Shows, and Entertainments 

Make the picture screen by stretching a large white sheet on 
the back wall of the room where the performance is to be held, 
as you would for a magic lantern exhibition. Then get your 
costumes ready. These may be made up very quickly from ma- 
terials at hand. 

The Puritan Woman's Dress 
as well as that of the man must be entirely of black and white, 
and to carry out the effect of black and white pictures their 
faces and hands should be made perfectly white with chalk, 
their eyebrows blackened and black wigs made of fringed tissue 
paper. Only a little of the woman's hair will show but the 
man's should be long and hang down to his shoulders. A tight 
black waist and skirt nearly to her ankles; a long white apron, 
white kerchief and cuffs (cut from old muslin) and a tightly 
fitting little black cap with a turned over edge of white form the 
costume of the woman. With these should be worn low 
black shoes and white stockings. For the 

Puritan Man's Costume 

have short, full, black trousers, long black or white coat with 
wide white collar and cuffs, a high-crowned, broad-brimmed 





Fig. 98. — This is the way to cut the Puritan's collar. Fig. 99. — Cut the wide cuff 

like this. 

black hat and low shoes with black stockings. A black leather 
trunk strap buckled across one shoulder may be added, also a 
long black cloak and staff. Cut the man's collar and cuffs like 




Puritan Costumes for the Moving Pictures. 
LOFC. 



99 



Moving Pictttres for Thanksgiving 101 

Figs. 98 and 99, and the woman's cuffs like Fig. 99. Fig. 100 
shows how the Puritan hat is made of stiff brown paper over an 




Fig. 100. — Put the Puritan's hat together in this way. Fig. 101. — This is the hat brim. 

ordinary straw hat. Fig. 101 is the brim, Fig. 102 the crown, 
which must be pinned together along its straight edges. 

The Properties 

for the Thanksgiving dinner scene are a long, narrow table spread 
for dinners, and chairs enough for the actors, six or eight taking 
part. 

Before showing her pictures Madam Moselle should stand 
in front of the screen and say a few words extolling the pictures 
she is about to present. 




Fig. 102. — This is the crown of the Puritan's hat. 



102 Parties, Shows, and Entertainments 

The girl who represents Madam Moselle should deliver an 
amusing little speech, giving a foreigner's idea of our first Thanks- 
giving, and it can be made absurdly funny with its many ludi- 
crous mistakes. 

At the close of her address the lights must be put out and the 
scene quickly arranged close to the screen, all the actors except 
two being seated at the table. Thus remain two empty chairs. 

As quickly as possible the light should be turned on and at 
the same time the actors must begin 

A Pantomime 

of eating, drinking and talking. 

They should express anxiety for the safety of the tardy guests, 
some of them leaving the table to appear to look out of a door 
or window. 

All the while (this is the great point) the actors must shake 
and quiver in imitation of the queer trembling and quivering 
always seen in the moving pictures; and their movements must 
be very rapid. 

Soon the missing couple should appear, coming in hurriedly 
and by gestures telling of an encounter with the Indians. 

Their clothes should be pierced with arrows, and the Puri- 
tan's hat must be bristling with them. 

All this will be very laughable if the acting is good, and 
absurd little by-plays introduced; but the whole thing will be 
spoiled unless the constant quivering and shaking is kept up by 
all of the actors. 

The picture can be "flashed off" the screen by simply turning 
out the light, and others may be shown giving various incidents 
in Puritan life or the early history of our country. 



CHAPTER IX 




A VALENTINE ENTERTAINMENT WITH ORIGINAL 
VALENTINES 



HE fun of the Valentine party begins with 
the invitations, which are in the shape 
of a heart. The message on the outside 
(Fig. 103) leads to the opening of the 
invitation (Fig. 104), and on the inside 
are found the time and place where the 
frolic is to take place and the names of 
those who are to give the party. 

To make the design, fold through the 
centre a square piece of paper measuring five and one-half inches 
along each edge. Fold this oblong 
crosswise through its centre, and 
you will make a small square of 
four layers of paper. On one side 
of this square 
mark the out- 
line of a heart, 
allowing the 
corner of the 
small four- 
folded square, 
which is also 




Fig. 103. — The invita- 
tion closed. 




Fig. 104. — Invitation opened. 



103 




104 Parties, Shows, and Entertainments 

the centre of the large square of paper before 
it is folded, to form the point of the heart (Fig. 
105). Cut out the top of the heart through 
all four layers of paper, also the curves of the 
sides of the heart; cut these only part way 
down as shown bv A and A (Fig. 105). The 

Fig. 105.— Cut out the . 

top of the heart dotted . lines in rig. 104 represent creases, 
through aii four Answers to the invitations might read : 

layers. CT 

"My dear Miss Darling and Miss Love, too, 
I've opened your heart and will come to you 
On the day you've appointed, the pleasure is mine, 
And I hope you'll accept me as your Valentine." 

Make as many valentines as there are guests, that all may be 
sure of receiving at least one. Address each of the girls' valen- 
tines "To My Sweetheart," and each of the boys' valentines, 
"To My Valentine." 

Let either a girl or a boy be selected to run 

The Post-Office 

which you can make of a clothes-horse draped with sheets. 
Place a table inside across the opening, and on the table, resting 
on a pile of large books, stand an empty wooden box minus top 
and bottom. Set it up on one end to serve as the post-office 
window. The table and space on each side of the window 
should be screened with sheets. Across the outside top of the 
window fasten a pasteboard sign marked in large letters: 

ST. VALENTINE'S POST-OFFICE 

and decorate the white sheets covering the clothes-horse with 
red paper hearts of various sizes fastened on singly, doubly and 
in festoons. On the table at the ri^ht-hand side of the window 




Sending Her Valentine. 

105 



Entertainment with Original Valentines 107 

place the girls' valentines and on the left-hand side of the window 
the boys' valentines. 

Ask all the girls to form in line and march around the room 
to the post-office, while some one plays a suitable lively air on the 
piano. Each girl in turn must stop at the post-office window, 
where a box of St. Valentine's stamps is set before her with one 
of the boys' valentines. She must close her eyes and take one 
stamp from the box, then open her eyes, read the stamp and on 
it sign her name at the right-hand corner, then fasten the stamp 
on the valentine with paste given her by the postmaster, and 
move onward to give place to the next girl in line. 

When all the boys' valentines have been stamped, the girls 
take their seats and the boys form in line and stamp the girls' 
valentines in the same manner. 

The Valentine Stamps 

should be previously prepared. They are made uniform in size 
of small squares of white writing paper, on which is written any 
kind of a wish which may add to the fun, such as: 

I wish you would smile at me. 

I wish you would sing me a song. 

I wish you would tell me a funny story. 

I wish you would sit by my side now. 

I wish you would walk around the room with me. 

I wish you would recite poetry to me. 

When entering the room each guest is given a card. On one 
card is written, 

"When the Bell Rings 

once go to the post-office"; on another, "When the bell rings 
twice go to the post-office," and so on, each card designating a 



108 Parties, Shows, and Entertainments 

specified number of rings. The postmaster sounds the bell at 
intervals, giving a different number of taps at each ring, until 
every girl and boy is supplied with a valentine; then each boy 
seeks the girl who has signed the stamp on his valentine and she 
asks that the wish be fulfilled. The request is, of course, laugh- 
ingly and courteously granted. The valentines being sealed with 
St. Valentine's stamps, the mystery of the sentiment enclosed 
cannot be revealed until the wish on the stamp is granted, and 
neither the girls nor the boys are aware of the contents of the 
valentines they stamp. Later in the evening the girls find the 
boys who have signed their stamps, and then, entering into 
the spirit of the fun, they grant the boys' wishes as written on 
their stamps. 

The guests may bring extra valentines made especially for 
and directed to either hostess or guests. These are not sent 
through St. Valentine's post-office. The hostess keeps one door 
of the parlor closed for the benefit of those desiring to send 
special valentines. A sign posted upon it reads: 

CUPID'S DOOR 

and quantities of paper flowers with gilded pasteboard hearts, 
bows and arrows adorn it, giving it a very festive appearance. 
Each guest is at liberty at any time during the evening to slip from 
the company, make her way through the hall to Cupid's door, 
slide her valentine under the door, give a quick knock and 
scamper off before she is caught. Only the hostess has the 
privilege of opening Cupid's door, and to her belongs the pleasure 
of delivering these valentines to the various guests for whom 
they are intended. 

There are many styles of valentines which you can make. 



Entertainment with Original Valentines 109 




Fig. 1 06. — Which heart will you take? 



Fig. 106 is effective and requires only a few moments to manu- 
facture. For 

The Heart Valentine 

use a plain white card about four and one-half inches long and 
three and one-half inches wide for the foundation. Make four 
hearts graduated in size, the larg- 
est of red paper, the next gold, 
then green, and the smallest of 
blue paper. Cut a small slit in 
each heart a short distance from 
the top centre (Fig. 106). String 
the hearts on a narrow ribbon and 
tie one end of the ribbon through 
two slits cut in the lower left-hand 
corner of the card, and run the other end of the ribbon through 
two slits in the upper right-hand corner, then tie. Write across 
the top of the card, "Make your choice." 

Beneath it write this verse: 

"The Red Hearts take without return, 
The Green with envy always burn, 
The Blue are cold and hard and small, 
The Gold ask nothing but give all." 

The World Valentine 

is another design. For this use a 
circular piece of white paper about 
Fig. 107.— Shade a little to suggest four inches in diameter. Shade it 
roundness. around the edge a little to give an 

idea of roundness (Fig. 107), then with ink draw on the disk 
the outlines of North and South America to represent the world 
(Fig. 108). Paint the continent a light yellow. Put the lettering 




110 Parties, Shows, and Entertainments 

on in bright colors, placing an awl drawn in outline (Fig. 109) and 
a figure 2 in the position shown in Fig. no. Paint the awl red. 




Fig. 108. — North and 
South America. 




Fig. 109. — 
The awl. 



Fig. no. — You are all the world to 
your valentine. 




Fig. in. — The daisy valentine. 



This message is a rebus and reads: 
"You are all the world to your Valen- 
tine." 

Next Comes the Daisy Valentine 

(Fig. in). On a piece of paper 
six inches long and three and a half 
inches wide draw a circle near the top, 
making it not quite three inches in 
diameter. Paint the circle bright green 
as a background for the white daisy. 
Make the daisy of three or four layers 
of white tissue paper folded like Fig. 
112 and cut along the scalloped out- 
line shown in Fig. 112. Unfold the 
petals and they will be like Fig. 113; 
but as the number should be odd, you 



Entertainment with Original Valentines 111 



must cut off one of 
the petals. Sew the 
centre of the daisy to 
the centre of the 
green circle, then 
paste a small yellow 
paper disk (Fig. 114) 
over the stitches. 
Paint a small red 
heart at each upper 
corner of the valen- 
tine and paint a narrow blue ribbon tied to each heart and 
looped between, as in Fig. in. If the valentine is intended 
for a girl write under the green circle in red letters: 




Fig. 112. — Paper 
folded ready 
for making 
daisy. 



Fig. 113. — Petals of daisy. 



o 

Fig. 114. — Yellow 
center for daisy. 



"Pluck the daisy petals off, saying first: 'He loves me. 
With the next: 'He loves me not.' 
Then again: 'He loves me.' 
With the fourth: 'He loves me not.' 
Going on: 'He loves me,' 
Till the last when torn away 
Tells you this: 'He loves you.' " 



When the valentine is for a boy substitute the pronoun She 
in place of He. 

Love's Palette, 

the last valentine (Fig. 115), is to be made of light cardboard 
cut in the shape of a palette. The palette should be about six 
inches high and four and one-half inches wide at the broadest 
part. Beginning near the top, cut short slits in pairs in the 
palette, placing the pairs one inch and a half apart (Fig. 116). 



112 Parties, Shows, and Entertainments 



Get a quarter of a yard each of narrow blue, red, white, yellow, 
pink and green ribbon, and slipping the ends through the slits 





Fig. 115. — Love's palette. 



Fig. 116. — Slits cut in palette. 



in the palette tie them in bows as shown in Fig. 115. In the 
centre write in red ink, "Love's Palette," and on the back the 
following lines: 

"This ribbon blue means I am true. 
The knot of red says, 'Will you wed?' 
The bow of white, ' You're pure as light.' 
The yellow, too, means thoughts of you. 
The tie of pink is love's own link. 
The loops of green say, 'Youth so keen 
Must conquer all and win his queen.' " 



CHAPTER X 




THE WILD WEST SHOW ON A TABLE 

ITY people, country people, young 
people, old people, busy people, idle 
people, all come flocking to the Wild 
West Show when it posts its gay 
pictures and spreads its fascinating 
white tents for the benefit of the 
public. 

But did it ever occur to you that 
the show could come to you — that 
is, you might organize a show of your own and arrange things 
to suit yourself? If you want the Wild West Show 
first and a circus after you can have them. Should 
you prefer both shows at the same time they are 
yours, for you can make the entire affair — horses, 
riders, Indians, wild animals and tent. You may 

do even more — you can cause all the performers |< D 

actually to move, and that by the mere turn of your 
wrist, because your show will be in reality the mov- 
ing pictures of 

A Panorama 
Get a common old house-broom (Fig. 117) and 
saw the broom part off evenly from the handle at 
the dotted line A; then saw two pieces of equal Fi f- II7 -T An old 

' 1 A broom for roll- 

length from the handle at dotted lines B and C, ers. 

113 




114 Parties, Shows, and Entertainments 



^ 


®N 






3> 


o\ 



Fig. 118. 



-Box for show with holes in top 
and bottom. 



making each piece fourteen 
inches long. These we will 
call the rollers. 

Find or make a wooden 
box about twelve inches 
high, eighteen inches wide 
and eight inches deep; care- 
fully pry off one of the eigh- 
teen-inch sides and cut two 
round holes through the top 
of the box, one at each end, 
two inches from the front and 
one and one- fourth inch from 
the end; then turn the box 
over and cut corresponding 
holes through the bottom; 
reverse the box again, bring- 
ing the right side up (Fig. 
1 1 8). The holes on the bot- 
tom must be exactly under 
those on the top and all four 
holes must be only large 
enough to allow the roller to 
slip in, and while in, to turn 
easily (see Fig. 119). Remove 
the rollers and nail a strip of 
wood two inches thick across 
each end of the bottom of the 
box (Fig. 120). Then hammer 
two strong staple-tacks on each roller two and one-half inches 
from the top, or smaller end, and on opposite sides of the stick ; 




Fig. 119. — Broom stick rollers fitted in box. 




Fig. 120.- 



-Blocks of wood across each end of 
bottom of box. 




The Wild West Show Performance. 

115 



The Wild West Show on a Table 



117 



guide the tacks so they will incline very slightly upward while 
being hammered in (Fig. 121). 

Fit an empty spool on one end of a piece of wood, one inch 
wide, three inches long and not less than one-fourth of an inch 
thick. Slide a large-headed screw in the hole of the spool until 



/J 




Fig. 121. — Tacks in 
roller. 



Fig. 



122. — Spool on strip of 
wood for crank. 



the screw rests on the block of wood; then screw it down tight, 
fastening the spool securely on the wood (Fig. 122); screw a 
second spool on another piece of wood of the same size as the 
first (Fig. 123, D and E). Fit the free end of the block of wood 
over the top of the roller and mark off the space on the block oc- 
cupied by the end of the roller; with a gimlet bore a hole through 
the centre of this space, and also in the centre of the top of the 
roller; place the block of wood over the top of the roller, bring- 



118 Parties, Shows, and Entertainments 

ing one hole on top of the other, and fasten the roller and block 
together with a screw. In like manner screw the other block to 




<S> 



O 




Fig. 123. — Top of box and the crank ready to be fastened on box. 



the top of the second roller; these blocks and spools form the 
crank-handles for turning the rollers (Fig. 124). 

Unscrew the blocks from the rollers and carefully remove the 
staple-tacks, in order that 



The IVild West Show on a Table 119 




Fig. 124. — Box ready for tent front. 



A Strip of Cloth 

may be tacked to the rollers and the rollers replaced in the box. 

Purchase two yards of low-priced white cambric dress skirt 
lining; fold the cambric lengthwise into three equal divisions; 

then cut the folds apart, making three lengths 

each two yards long and about eight and one- 
fourth inches wide ; sew the pieces together along 
the end edges, lapping one over the other that 
the seam may be as thin and flat as possible 

(Fig. 125). This will give you a strip almost six 

yards long for the panorama. Do not hem Ffe- 125.— Lapped 

. . . . . ,. ill ends of strips of 

either the top or bottom. Allow a blank space c i oth seW ed. 



J 20 Parties, Shows, and Entertainments 

of white cloth, sixteen and one-half inches long, at the beginning 
of the panorama; then commence 

Pasting Pictures 

on the strip. Colored newspaper pictures are best, because 
the paper is thin and easily pasted on the cambric. Almost all 
leading newspapers publish in their issues from time to time 
colored pictures of wild animals, rough riders, Indians and circus 
performers. 

When you have a collection of the pictures you want, cut each 
one out neatly. When all are ready, sort them over, selecting 
the one you wish to come first on the panorama; then the second 
picture and so on. Have them all in order so you need waste no 
time hunting for a print while pasting the pictures on the cam- 
bric. 

Make a good paste of flour and water, allowing it to boil well 
before using. A drop or two of oil of cloves mixed with the paste 
after it has cooked will keep it fresh a long time. 

Select an attractive, comical picture for the first design on 
the panorama; but save the best and most startling picture for 
the very last. 

You should arrange 

The Performers 

in your panorama in much the same way as a story is written or 
a play put on the stage. Always begin with something which will 
cause the audience to want to see more; then paste on various 
pictures, but toward the last lead up to the best and most exciting 
design ; the last picture stands for the climax in a story or a play. 
When placing the pictures on the strip of cambric, remember 



The Wild West Show on a Table 



121 



not to have them close together; keep them apart, allowing a 
little blank space between each successive object, so your audi- 
ence will have an opportunity of enjoying every one of the per- 
formers and wild animals as it first appears peeping from behind 
the roll at one side of the tent, showing only its head, then coming 
in, full view and passing slowly before them until it finally disap- 
pears around the roll at the other side (Fig. 123). 

When the Pictures Are All Pasted 

on the strip, turn over and crease down half an inch of cambric 
along the edge of the first end of the panorama ; tack this end on 
one of the rollers. If the thickness of the top of your box is 
one-half an inch, tack the end of 
your panorama fully four and one- 
half inches below the top or smaller 
end of the stick. Should the thick- 
of the lid be one inch, the 



ness 

cambric strip must be tacked on 
still lower — about five inches from 
the top. 

You cannot be too particular 
about having the edge of the cam- 
bric perfectly even and straight on 
the roller, so the strip will lie at a 
true right angle to the roller when 
laid out flat (Fig. 126). 

Having tacked the cambric on, 
gradually roll it around the stick, keeping the strip running over, 
not under the stick, so the roller will stand behind the cambric ; 
have the cloth perfectly even as it winds around and around. 
When the end of the cloth is reached, turn in one-half an inch 



IT 



Fig. 126. — Cloth fastened on roller. 



122 Parties, Shows, and Entertainments 

of the end edge and tack the cambric to the second roller as you 
tacked the beginning on the first roller (Fig. 127). 

Use the same precaution and wind in the same manner but 
in an opposite direction when rolling the cambric on the second 
stick. With a strong hammer strike the top or lid of the box 
along the edges from underneath until it loosens and can be re- 




Fig. 127. — Method of rolling cloth on the broom-stick rollers. 

moved ; take it off and slide the rollers with the attached pano- 
rama into the holes on the bottom of the box (Fig. 123). 

Replace the lid of the box, passing the top ends of the rollers 
through the holes, and nail the lid down to the sides of the box; 
then refit the staple-tacks in their respective places and see that 
they are in tight; restore the crank-handles on top of the rollers 
and rescrew them in position (Fig. 124). Now the panorama 
is ready to go into 



The IVild West Show on a Table 



123 




Fig. 128. — Pasteboard tent front for box. 



A Tent 

Cut a stiff piece of pasteboard box like the tent design (Fig. 

128) with an opening to fit the strip of muslin, spanning the space 

between the two rollers; the 

edges of the opening must 

cover both top and bottom 

edges of the cambric. Cover 

the pasteboard with white 

muslin cut into four pieces— 

one piece for the top, one for 

the bottom and one for each 

side. Cut the bottom piece 

into a strip to fit, slashed on 

all edges (Fig. 129, A). Paste 

this on the tent (Fig. 128) first, 

turning the slashed portion over and fastening it on the back of 

the pasteboard; then 
fasten a curtain on 
each side (Fig. 130) 
and paste the top piece 
of the tent on last; 
scallop this along the 
bottom edge and paste 
it only along the two 
slanting slashed top 
lines; turn the slashes 
over on the wrong side 
of the pasteboard and 
paste. When dry, fit 

Fig. 1 2g.— Manner of covering tent front with white cloth, the tent Over the tront 




124 Parties, Shows, and Entertainments 



of the box and tack it firmly in place. Make three little flags of 
gay paper, paste on sticks and glue the sticks to the top peak and 
sides of the tent (Fig. 130); paste strips of paper over and 




Fig. 130.— The Wild West Show with side curtains attached. 



across the flag handle to the pasteboard to hold the flag more 
securely on the tent (Fig. 131). Your show will then appear to 
be moving inside of a white circus tent. 

Set the box upon a table with the entire panorama wound 



The IVild West Show on a Table 



125 



on the second roller, leaving only the blank portion of the cloth 
visible, and while the audience is seated in front, begin slowly 
turning the crank-handle of the first roller; at the same time 
telling in clear, well enunciated words all about your Wild West 
Show. Do not try to have your remarks sound as though learned 
from a book; that would be stiff and unnatural. 
Talk in an every-day way, exactly as though you 
were speaking only to your most intimate friend, 
and wanted to tell her all about the strange sights 
and queer people, and the funny bears who are 
not afraid of any man woman or child. 

If you have been to a real Wild West Show, 
that will give you ideas, or if you have traveled 
way out West and seen the actualWild West life 
it will be an inspiration for your show. Even to 
have read about the life with its daring riders, wild 
horses, buffaloes, hazardous stage coach drives, Indians and their 
war dances will be an immense help in aiding you to enter into 
the spirit of the show. 



U2 



4P 

Fig. 131. — Method 
of fastening flag- 
poles on tent. 




o 
o 



126 



CHAPTER XI 

ROOF PICNIC WITH BROOK TO CROSS AND FLOWERS 

TO PICK 



NVITE your friends to an afternoon picnic, and in 
the morning prepare the grounds for the frolic. 
Have a lot of growing flowers and growing fruit 
to give the place an attractive and festive ap- 
pearance. The fruit must be real, not make-be- 
lieve; it must be ripe and ready to pick; but the 
flowers may be of tissue paper, cheerfully bright 
and large in size. The aim should be more for 
general effect than detail in making these out- 
door decorations. 

Sunflowers 

can be fashioned rapidly by cutting orange- colored tissue paper 
into strips twenty-five inches long and six inches wide, pointing 






Fig. 132. — Cut the sunflower petals 
this way. 



Fig. 133. — Fold each petal through 
centre. 



127 



128 Parties, Shows, and Entertainments 




Fig. 134. — Gather the strip of 
petals. 




the strips into petals three inches deep and two and a half in- 
ches wide at the base (Fig. 132), ten petals to each strip; then 

creasing each 
petal length- 
wise through 
its centre to 
give stiffness 
(Fig. 133), 
and gather- 
ing each strip 
separately along its straight edge with 
needle and thread (Fig. 134); in this Fig. 135— One gathered circle of 

r • -I. , • • • . . sunflower petals. 

way forming the two strips into two 

pointed circles (Fig. 135). These circles, together with a brown 

centre, make one sunflower. 

Cut a strip of brown tissue paper nine inches long and two 
inches wide for the centre, gather the 
paper tightly along one lengthwise 
edge and tie it close up under and 
against the head of a slender nail 
(Fig. 136). Around the nail under 
the brown centre, slide on first one, 
then the other, circle of gathered yel- 
low petals, taking care to have the 
petal points of the lower circle lie 

between and not 

over those of the 

top circle. Finish 

by driving the nail 

which runs through 





Fig. 136. — Sunflower 
centre. 



the sunflower, into 



Fig. 137. — Paper sunflower growing 
on broom-stick. 



Roof Picnic 



129 



one side of a stick or broom-handle, with the lower end sharpened 

(Fig- 137)- 

Hollyhocks 

of every color can be made of circles of tissue paper five and a 
half inches in diameter, held at the centre, two circles one in- 





Fig. 138. — Paper holy hock tied 
on stick. 



Fig. 139- — Paper 
crimped for pinks. 




Fig. 140. — Paper disk 
for making poppy. 



side of the other, and the centre pushed 
and squeezed together, causing the 
edges to fold and turn until they re- 
semble the real flower (Fig. 138). 
Smaller circles, crimped by drawing 
the paper through the partially closed 
hand (Fig. 139), can be made into 
pinks, and you may have brilliant, 
nodding poppies in the same way, 
only these are of smooth, uncrimped 
circles (Fig. 140), placed one inside 
the other, with a small circle of dark- 
green paper for the centre, and all 
three layers pinched together at the 
extreme centre (Fig. 141). Large peo- 




Fig. 141. — Paper poppy. 



130 Parties, Shows, and Entertainments 

nies are similar in construction to some of the flowers you have 
made, so try to work these out yourself. 
A simple way to make 

Roses 

is to cut tissue paper into strips two and a half inches deep; 

cut the square-cornered slashes two inches wide, then with knife 

or scissors blade curl the sharp corners 
of each separate division, making the 
slashes into rose petals. Curl the cor- 
ners of the petals along half of the 
strip inward, and those along the other 
half, outward. Fold two or three plaits 
in the straight bottom edge of each 
petal; then begin with the half where 
the petals curl inward and wind the 
strip around the end of a slender stick. 
The first petals form the central group 
and are curled inward; the remainder, 
curled outward, form the outward circle 
Make a generous supply of blossoms and 
Let each bush bear but one kind, that the 




Fig. 142 Paper rose. 

of petals (Fig. 142). 
tie them on bushes. 



flowers may appear natural and as if actually growing. 



Get a Variety of Friiit, Peaches, Plums, Apples 

or any other sort you may prefer. Tie the fruit to those bushes 
which have no blossoms, allowing each fruit bush to bear only 
one kind of fruit. 

In case there are no bushes, or if the bushes are too few in 
number, use branches or sticks with natural foliage, or leaves 



Roof Picnic 



131 



made of green tissue paper; make the latter of paper in several 
layers, that a number may be cut at a time like the pattern (Fig. 
143). Crimp through the centre by folding 
lengthwise over a hatpin and pushing the 
folded centre together (Fig. 144). The meth- 
od is quick and gives satisfactory leaves 
(Fig. 145). Cut leaves in different sizes as 
you will need some larger than others. 

The sticks used as bushes should be of 
varying heights sharpened at the lower end 
and driven into the ground. 

Pretend the sticks are fruit trees and 
flower bushes and plant them where they 
will appear to best advantage. 

If your yard happens to be 




On the Roof 



Fig. 143 — Pattern for 
, green leaf. 



of the house, as often oc- 
curs in large cities, there 
will probably be no earth in which to plant 
things; then you must fill flower pots and 
deep boxes with earth, sand, or gravel, and 
plant your make-believe trees and shrubs in 
them; such a garden will be entirely different 
from all others. 

Build a wooden fence over which the girls 





Fig. 144.— Crimping green leaf. 



Fig. 145. — Green paper 
leaf. 



132 Parties, Shows, and Entertainments 

and boys climb to enter the picnic grounds; even though the 
improvised fence may not closely resemble the real article, it will 
help to render the feeling of being in the open country more 
realistic. 

Make the fence by sinking the legs of two strong kitchen chairs 
partially but firmly into the earth. Place the two chairs facing 
each other and a short distance apart; then run a large, strong 
pole or narrow board for a rail, across the chair seats, allowing 
the rail to extend out beyond the back of the chairs. Lash the 
rail securely to the chairs with the heaviest twine or slender rope, 
and place very heavy weights on the seat to keep the chair steady, 
and avoid all possibility of the rail slipping or chairs tipping. 

If possible get either a swing, a teeter or a jogging board; 
all these will afford a lively time for your guests, as will also a 
wheelbarrow in which the girls and boys may take turns in rid- 
ing and pushing or wheeling each other. 

If you want to make the affair seem just like a regular 

Country Picnic 

let each guest bring his or her own little basket of lunch. 

As your guests arrive, usher them into the house and do not 
let them even see the yard if it can be avoided ; keep the grounds 
for a pleasant surprise a little later. 

Form the girls and boys into a single file and lead them 
marching around the room while they join in singing some lively 
air. After winding in and out among the chairs and tables, open 
the door, let them look out into the pretty garden, and, while still 

singing, 

Climb Over the Fence 

and march among the flowers and fruit trees ; end the procession 
by circling around the spot chosen for your dinner table, where 



Roof Picnic 



133 



all must deposit their lunch baskets. Of course you will not 
have an actual table, as the tablecloth must be spread on the 
ground and the girls and boys sit 
around it. 

Mark the four corners of the 
space reserved as a table with sticks 
about forty-six inches high, deco- 
rated with bright flowers (Fig. 146), 
and the sharpened ends planted in 
the earth, or in flower pots. 

Spread the Tablecloth, 

bringing each corner to meet a gar- 
land pole; then let the guests take 
from their baskets the different ar- 
ticles. Reserve some space at the 
centre of the table for fruit, and let 
each boy and girl in turn walk 
about the grounds and select one 
piece of fruit, pick it, bring it to the 
table, and lay the chosen piece on 
the centre of the tablecloth. No 
person may pick more than one 
piece of fruit during one turn. 
Each player is privileged to place 
his fruit in any way he desires, re- 
membering always that each piece goes to form the centre-piece, 
which should always be made as decorative as possible. 

Crossing the Brook 

is a lively game and great fun. Get a number of flat stones that 
will lie steady, and are large enough to step upon; arrange them 




Fig. 146. — The decorated pole. 



134 Parties, Shows, and Entertainments 

about eighteen or twenty inches apart, in an irregular line, over 
a stretch of ground twenty or more feet across. Let the players 
in turn tip-toe on the stones just as though they were crossing 
a brook of running water, each girl and boy being obliged to 
pay a forfeit for every misstep into the make-believe water. If 
stones are not to be had, use blocks of wood, or, if need be, 
pieces of paper in place of stones. As each player crosses the 
brook, the rest of the party must call to her to be careful, not 
to fall, that she is going too fast, that she is going too slow, or 
make similar comments. They can cheer her, and in many 
harmless ways try to confuse the player with their calls, but it is 
against the rules to touch or even go nearer to her than two 
yards. 

After all the girls and boys have taken their turn at crossing 
the brook, try 

Japanese Tag 

Each player must keep her hand on the spot where she was last 
tagged, making the game present a most laughable appearance, 
with all the young people dancing about in strange attitudes, 
holding a hand on the top of the head, on the knee, chest, back, 
or foot, as it happens. The players are not allowed to remove 
the hand until tagged in another spot. When tagged in the 
middle of the back or any spot difficult to reach, the player may 
hold a stick in his hand with one end resting on the spot where 
he was tagged. 
In starting 

The Game 

any person who first shouts, "Pick her up and stone holder," may 
hold both hands in front of her, each doubled up tight and one 
clasping a small stone, immediately some one calls out "First 



Roof Picnic 135 

knock," another player cries "Second knock," another "Third 
knock," and so on, according as they are able to get the call in 
aftei the preceding cry. The player calling 

"First Knock" 

taps one hand of the girl or boy holding the stone; if the hand 
touched contains the stone, the player knocking is "it," and the 
game begins, but if the hand is empty, the player is free and the 
stone-holder puts her hand back of her while she does or does not 
change the stone to the other hand ; again stretching her clinched 
hands forward, she allows the player calling "Second knock" to 
try her luck by tapping one of the outstretched hands. The 
trials are continued until a player taps the hand holding the stone 
and becomes "it," then 

The Others Scatter 

and "it" endeavors to tag some one, who in turn becomes "it," and 
so the game goes on. 

After the players have grown tired of this game, there are 
many others which will suggest themselves to the young people, 
and it will be found a good plan to alternate the livelier kind 
with those of a more quiet nature. 

When the picnic is over give cacli guest one of the pretty 
paper flowers to carry home, and your roof or back-yard picnic 
will have been an event long to be remembered. 




The Magic Peep Show. 



136 



CHAPTER XII 



THE MAGIC PEEP SHOW 



IND or make a simple pasteboard box, 

twelve inches long, ten inches wide and 

nine inches high, or you can have it a 

little smaller if you like, for your Magic 

Peep Show. 

Cut a large square opening in the 
end of the box, leaving a margin one- 
half inch wide at the top and sides 
(Fig. 147). Make a small round hole 
in the centre of the front of the box, 
only large enough for one eye to look through, and cut a slit 
a quarter of an inch wide on each side of the box half an inch 






Fig. 147. — Back end of box opening. 



Fig. 148. — Slit cut in side of box. 



from the open end and half an inch from the top ; extend the slit 
to the bottom of the box (Fig. 148). Fig. 149 shows the box 
with the front, sides, and back cut. 

137 



138 Parties, Shows, and Entertainments 





149. — Peep-hole cut in 
front of box. 



Fig. 150. — Peep show ready 
for slides. 



If the bent-down edges of the box-lid are wide, cut them off 
within half an inch of the top ; then put the lid on the box and it 
will be ready for the slides (Fig. 150). 

The Slides 

must be stiff and perfectly opaque, so they will appear black when 
held up to the light. Make them of pieces of pasteboard boxes. 

cut to fit in the side slits and long enough 
to extend a trifle beyond on each side 
of the box (Fig. 151). 

Draw the different designs given 
here on separate slides, and with a 
sharp penknife cut them out, leaving 
holes in the slides exactly the shape of 
the designs. The holes should appear 
with clean-cut edges. 
Fig. isi.-siide in box. Qf course) the comp iete designs on 

the slides must be drawn much larger than in these printed dia- 
grams, but you can enlarge the drawings by the system of 
squares. Explained in Chapter XIV. 

After the designs are cut out, paste colored tissue paper over 




The Magic Peep Show 



139 




Fig. 152. — Cow jumps over the moon. — Front 
side of slide. 



the openings, and when you look through the little hole you 
will see wonderfully bright and gay scenes all in transparent 
colors. An ambitious red 
cow will be found jump- 
ing over a yellow moon, 
and instead of being ac- 
companied by the usual 
dish running away with a 
spoon, you will find an 
energetic wood sprite 
dressed all in Lincoln- 
green. The sprite has 
tied a rope of wild grape- 
vine to the cow, and, 
clinging to the rope, is sailing through the air and over the moon 
with his queer steed. Fig. 152 shows 

"The Cow Jumped Over the Moon" 

Cut out the group and paste a piece of dark- red tissue paper over 

the entire cow with the 
exception of the horns. 
Across these paste white 
tissue paper. Cover the 
moon with one piece of 
yellow tissue paper and 
the sprite with green, all 
except his face ; have that 
pink. Cut out a thin line 
for the rope and paste a 
bit of brown tissue paper 

Fig. 153.— Wrong side of slide. Over it. Fig. 1 53 shows 




140 Parties, Shows, and Entertainments 



the wrong side of the slide and ex- 
plains how the work is done; dotted 
lines designate the openings, which 
are covered with tissue paper, in the 
manner described. 

The tissue-paper coverings may- 
be cut in any shape, but each piece 
must cover well the opening of the 
figure or portion of figure intended to 
be the color of the paper. Have the 
white paper across the horns lap less 
than one-eighth inch over the red 

Fig. iS4.-White paper over horns. paper of the CQW ( Fig# j^ and 

manage the pink paper of the sprite's face in the same way 
where it meets the green of his cap and clothing. 





The jumping cow. 



The Magic Peep Show 



141 



In making the other slides, follow this 
method throughout whenever two pieces of 
tissue paper come in contact on the figure, 
and when pasting paper 
over designs on the re- 
maining slides always 
use one large piece of 
paper in preference to 
several small pieces for 
covering different parts 
of the design, which are 
the same in color. Figs. 
155, 156 and 157 give Fig. 157- 
the cow, sprite and moon for you to copy or trace. 




156. — The green 
sprite. 




-The moon. 



Life in Fairy Waters 

Fig. 158 shows how dark the slides appear when seen in the 
peep show and gives an idea of the decided contrast of the light 
design against the dark background, only the black and white print 

cannot give the charm of 
the clear, bright, trans- 
parent coloring of the 
mermaid feeding her 
many-hued pets as she 
rides her sea-horse in 
the fairy waters. 

. The different parts of 

the composition are Figs. 

159, 160, 161 and 162, 

Fig. 158.— Life in fairy waters. and the food merely little 




142 Parties, Shows, and Entertainments 



oval-shaped holes covered with white tissue paper. Make the 
mermaid's hair and ribbon brown; her face, arms and body to 
the waist line, pink; the remaining 
portion of the mermaid's figure 
orange-color. The fish, scarlet, 




-Mermaid on sea-horse. 



Fig. 162. — Fairy fish. 

Paste wee round pieces of black paper on the 



Fig. 1 59 

purple and white 
fish for the eyes. 

As soon as you finish the slide, fit it in the peep show box, turn 
your face to the light, then peep through the hole and find how 
pretty the bright group looks with all the eager fish gathering 
around the little mermaid as she calls them to breakfast. 



The Magic Peep Show 



143 



Next comes Fig. 163, the 

Easter Chicks 

Make Fig. 164 light 
yellow; Fig. 165, blue; 
Fig. 166, orange chick, 
white shell; Fig. 167 A, 
green, B, purple; Fig. 
168, white chick, scarlet 
shell; the broken shells 
(Fig. 169) red, blue and 

Fig. 163. — Easter chicks. , ., „, ,.,,, 

white. I he poor little 
chicks are glad to escape from the shells even though the shells 
have been gayly painted. 





Fig. 166. — Orange colored chick- 
Fig. 164.— Light yellow chick. Fig. 165. — Blue shell. White shell. 





Fig. 167. — Green egg.— Purple egg. 



144 Parties, Shows, and Entertainments 




a 



*s 



Fig. 168— Scarlet shell. 



Fig. 169. — Pieces of red, blue and white shell. 



In the Three Blind Mice 
(Fig. 170), which are pursued by the knife belonging to the 
farmer's wife, the first mouse can be orange-color; the second, 

white, and last one brown. 
The blade of the knife, 
scarlet, and its handle 
green, or any other colors 
which may please your 
fancy. Remember, this is 
a magic peep show, and 
often the natural color of 
animals is changed to 
more brilliant hues in 
order to secure a more 

Fig. 170. — Three blind mice. vivid effect. 





Fig. 171. — One of the three blind mice. 



The Magic Peeft Show 



145 



You can make all three mice from one outline (Fig. 171) and 
the knife from Fig. 172. Set the slide of mice in place in the box, 
peep through the hole and "see how they run!" 

The next illustration will undoubtedly prove to be the most 




Fig. 172. — The butcher knife. 

amusing of all, and will bring forth gales of laughter from your 
little brothers, sisters or friends. It is the 

Dance of the Dolls (Fig. 173) 

On Fig. 174 paste orange- colored hair, a scarlet dress and green 
shoes; then over all paste one large piece of white tissue paper 
which will make the doll's face, neck, arms and stockings white. 

The layer of white paper 
placed over these colors 
does not affect them in 
the least. 

Cut a circular hole 
for the ball and cover it 
with brown tissue paper. 
Dress Fig. 175 in the 
same manner as the doll 
just described, but in 
other colors. For in- 
Fig. 173 —Dancing toys. stance, make her hair 




146 Parties, Shows, and Entertainments 

brown, her dress light purple, her shoes yellow, and her face, 
arms and stockings white. If you want features on the faces, 
use a very soft lead-pencil and draw eyes, nose and mouth, though 




Fig. 174- — Girl to dance on ball. 



Fig. 175- — Dancing doll. 



features are not really necessary, and, as a matter of fact, the 
dolls look very well without. 

Let Jumping Jack (Fig. 176) be all in blue, except his 
face — make that white. Joints on all the toys, as seen in 
the illustrations, are indicated by pasting thread lines of black 
paper and pin-head dots of black paper over the places where 
joints should be, according to the outlines and dots at the 
elbows of the girl dolls and the shoulders and hips of dan- 
cing Jack. 



The Magic Peep Show 



147 




Fig. 176. — Jumping Jack. 



The Bouquet 

(Fig. 177) consists of a red tulip (Fig. 178); a deep-yellow ox-eye 
daisy with a brown centre pasted over the yellow — in this case 
it can be done (Fig. 179) — a bluebell (Fig. 180); and a white 
daisy with yellow centre (Fig. 181). You will find that this 
piece, with all its bright colors, will be one of the prettiest of 
your designs. Fig. 182 is a branch of green leaves. 

Cover each blossom with its respective color, and then paste 
one piece of green tissue paper over all the leaves and stems and 
the effect will be verv natural. 



148 Parties, Shows, and Entertainments 




Fig. 177. — Floral slide. 






Fig. 178. — The red 
tulip. 



Fig. 179. — Ox-eyed 
daisy. 



Fig. 180. — BluebelL 



The Magic Peep Show 



149 




Fig. 1 8 1.— White 
daisy. 




Fig. 182. — Green leaves. 



The Little Sun-bonnet Girl 

(Fig. 183), playing with a lot of bright-colored balloons, forms 
the last slide. Make the little girl's dress blue, her sun-bonnet 
white and her hands, feet and ankles pink (Fig. 184). Let the 
strings of the balloons be of white tissue paper and each balloon 
-of a different color from 
all the others; one may 
be dark red, the others 
green, pink, purple, light 
yellow, blue, scarlet, or- 
ange, brown, light green, 
white and vivid yellow. 
The slide will be very 
brilliant. 

Invent other designs 

yourself. Think Of SOme- Fig. 183.— Little sun-bonnet girl. 




150 Parties, Shows, and Entertainments 

thing you would like to see and try it on a new slide; when you 
succeed with one, you will want to make another and another. 
The more slides you have for your magic peep show the longer 




Fig. 184. — Sun-bonnet girl. 



the fun will last, and you will be able to give no end of pleasure 
to your little friends. 

When exhibiting the peep show set the box on top of a table 
where the light will shine through the slides and let the party 
take turns facing the window and peeping through the little hole 
at the novel, brilliant scenes beyond. 




Champion of the New Outdoor Game 



152 




CHAPTER XIII 

PLANT YOUR GARDEN IF YOU CAN 

A New Flower Game 
RIGHT summer days are the time to be out of 
doors in the sweet, fresh air, with the birds 
and flowers, where there is plenty of space to 
run and have a good time. What a lot of 
games can be played in the open. There is 
Hide-and- Go-Seek, Catcher, Tag, Hop-Scotch 
and many more. You will be able to add a 
number to the list. Probably, though, you 
have played all of them over and over again, so we will try and 
think of something new. We must have a game that will be 
lively, interesting, and at the same time require a certain degree 
of skill, and the game must be one where we can enjoy the making 
of things requisite for the sport; but the material must not cost 
more than a few cents. 

I have it! A game of flowers with roses that will not wilt or 
fade but last for a long time fresh and bright. We will call it 
"Plant Your Garden if You Can," because one cannot always be 
absolutely sure of planting the flowers, and that is part of the fun. 

Two Dozen Roses 

will be needed for this garden game, half a dozen white, half a 
dozen red, half a dozen yellow and half a dozen pink. The 
flowers are of tissue paper and very pretty. 

i53 



154 Parties, Shows, and Entertainments 



Cut squares measuring 
twelve inches along each of 
the four sides, from white, pink, 
yellow and red tissue paper; 
the dotted lines on the diagrams 
indicate where the paper must 
be folded (Fig. 185). Fold each 
square across the centre (Fig. 
186). Fold again crosswise 
through the centre, forming a 
small square of four layers 
(Fig. 187). Again fold, this 
time diagonally (A to B, Fig. 
187), and you will have a triangle (Fig. 188). Fold once more 
diagonally (Fig. 188) A to C; this will give Fig. 189. Cut 



I 



h i iii i hiuiiiiuiu iiiii i i u i iiiiii i n'1 ' ii i i ii i iiii in i i ii i ii i i i i iiiiinnii i mniiii i nn i 

Fig. 185. — Square 12 inches each side. 




Fig. 186. — Square folded once across centre. 



Fig. 187. — Square folded twice. 



straight across from E to dot D (Fig. 189), then cut a slash an 
inch and three-quarters deep in the centre of the edges as shown 
by the line F in Fig. 190. Open out the paper (Fig. 191). The 
slashed edges will form the petals of the rose. Curl each corner 
edge of every petal with a blade of a pair of scissors according 
to dotted lines on the petal (Fig. 192). 

Begin by holding one corner of one petal between the thumb 
of your right hand and one blade of the scissors ; gently pull your 



Plant Your Garden if You Can 155 





F E 




Fig. 188. — Four layer square Fig. 189. — Triangle folded Fig. 190. — Second triangle 
folded diagonally. diagonally through centre. slashed on edges. 




Fig. 191. — Unfolded triangle with slashed Fig. 192.— Section of paper for rose show- 
edges for rose petals. >ng one curled petal. 



156 Parties, Shows, and Entertainments 




Fig. ig3. 



-Two curie i petals on each 
half of rose. 



thumb and the scissors blade outward, sliding them along each 
side of the petal, while you hold the remainder of the paper 

steady with your left hand. 
The thumb rubs over the 
petal; at the same time the 
edge of the scissors blade 
scrapes the under side of the 
petal, which causes the paper 
to curl. Fig. 192 shows one 
petal with both of the side cor- 
ners curled. When you have 
curled around the first half of the circle, turn the paper over and 
curl the petals around the other half of the circle in an opposite 
direction. Fig. 193 
gives two petals 
curled forward and 
two backward, rep- 
resenting two pet- 
als on each half of 
the tissue-paper 
rose. After all the 
petals are curled 
lay the centre of 
the tissue paper 





-Flour in centre Qut flat and pkce 



Fig. 195. — Finished rose and 
flour bag. 



of paper and string 

around below rose on it three level tea- 

spoonfuls of flour; then gather up the edges 
of the rose and wind a strong thread several times around be- 
low the petals and above the flour-bag formed by the centre 
of the paper (Fig. 194). Tie the string, adjust the petals and 
the rose will be finished (Fig. 195). 



Plant Your Garden if You Can 



157 



Mark Out Two Flower Beds 



Barbara 

o 




I 



where the roses are to be planted. 
Each bed must measure three yards in 
length and one yard in width. The 
beds must run parallel to each other 
and be separated by a space of three 
yards. Each of the two flower beds 
must then be divided crosswise through 
the centre, making four flower beds in 
all, two on each side — one for every 
player. Fig. 196 shows the plan with 
flower beds divided. The circles de- 
note the station points or places where 
the players stand, and the dotted line 
the direction the roses should take 
when played by the girl or boy sta- 
tioned at the position marked "Bar- 
bara." The other players send their 
roses in like manner over the interven- 
ing space to the flower bed diagonally Fi s- 196.— Plan of flower bed for 

. . . game. 

across from their position. 

That there may be no mistake regarding each particular en- 
closure where the different-colored roses should be planted, 



/ 







O 


Caroline 


Frank 



Use Flags 

to designate the color of the various flower beds. From inex- 
pensive cotton cloth of a solid red color cut a flag eighteen inches 
long and twelve inches wide; hem the raw edges; then tack one 
end of the flag on a slender stick one yard or more in length; 
sharpen the free end of the stick and push it down into the earth 



158 Parties, Shows, and Entertainments 



at the outer back corner of the flower bed intended for the red 
roses. Have the flag stand straight and firm. Make a white, 

a yellow and a pink flag in the 
same way. Erect each in the 
outer back corner of its own bed, 
which will be the bed where roses 
of corresponding color are to be 
planted. All the flags must be 
of equal height. 

If the game is played at the 
seashore on a smooth, hard beach, 
Fig. 197.— Tape in clothespin for pegging mark out the flower beds by run- 
ning the end of a stick along in the 
sand. If the game takes place on a level lawn, use white tape for 
marking the beds; peg the tape down to the earth with corn- 





Fig. 198. — White tape outlining flower bed. 

mon wooden clothespins (Fig. 197), first sliding the tape in the 
clothespin (Fig. 198). 

The Four Rackets for the Game 

are ordinary flat palm-leaf fans, one fan to each player. 

The game is played by sides, and calls for four players, two 
on each side. 



Plant Your Garden if You Can 159 



The Game 

is that each player in turn shall plant as many roses in her own 
garden as she can. Every player has six roses of one color; the 
two holding respectively the white and the red roses are on one 
side, while the two with the yellow and the pink roses take the 
opposite side. When all is ready and the players are at their 
stations, a signal is given and the game begins. 

The first player holds one of her roses out with the left hand, 
strikes it with the fan- racket held in the right hand, and endeavors 
to send the rose flying and land it in her own garden. If she suc- 
ceeds, the rose is said to be "planted," and scores her one point, 
but should the rose go beyond the boundary line of her flower 
bed, fall short of it, or the flour-bag of the rose be broken, the play 
is a "failure" and scores one point for the opposite side. When 
a rose falls on the boundary line of its own flower bed, the play 
is a "fault," and the player may try again with the same flower. 
After the first player has had her turn, a player on the opposite 
side tries her skill, for the turns must alternate from side to side. 
The game ends with the playing of the last rose, and the side 
scoring the greatest number of points wins the game. All roses 
when played must remain where they fall until the close of the 
game, with the exception of those falling on the boundary line 
of their own beds. 

A Tally Card 

will be required for keeping a record of the game. Make one of 
white pasteboard (Fig. 199). The initials can be changed to 
those taking part in the sport. Every point scored must be 
written under the color and initial or name of the person who 
scores it. When, because of the failure of one player, the oppo- 



160 Parties, Shows, and Entertainments 



site side scores a point, the score must be recorded in the third 
column belonging to that side on the tally card under the word 
"Won." 




Fig. 199. — Tally card. 

To Determine the Choice of Sides, 

which shall be first, and the distribution of colors, draw straws 
for the colors and toss for position of sides. To draw straws, 
take four straws of varying lengths, and grasp them in your hand 
in such a way that the extending ends of the straws seen by the 
other players are the same in length, while the uneven ends are 
closed within the hand ; allow each player to draw a straw. The 
girl or boy taking the longest straw has first choice of colors; 
the player holding the straw next in length has second choice, 
and so on. 

To toss for position of sides means that a player from each 



Plant Your Garden if You Can 161 

side shall toss a small stone toward a stick laid on the ground 
two yards distant from the spot where the players stand. A 
twig placed on the spot may mark the point from which the 
stones are to be tossed. The stones must be tossed in turn, not 
at the same time, and the player whose stone comes nearest to 
the mark wins the right for his side to the choice of position on 
the grounds, also the right of first play. 

One charm of this game is that the roses when volleyed by 
the players invariably land on the ground blossom uppermost, 
and these twenty-four bright blossoms scattered over the green 
lawn or sandy beach, with gay, colored flags outlining the four 
corners of the garden court, and, best of all, the group of merry 
boys and girls, make a very attractive and pretty scene. 

The game, though intended for four players, may also be 
played by either two or eight players. When only two take 
part, each must play the twelve roses belonging to his side; in 
other respects the rules are the same as in a four-handed game. 
When there are eight players, four must stand on each side and 
each player have three roses, two players necessarily playing the 
same color, but not in the same bed, as the garden on both sides 
must be divided into four beds that every player may plant roses 
in a separate flower bed; otherwise the original rules hold good. 

"Plant Your Garden if You Can" may be adapted to the house 
when chill Autumn days appear and the weather grows cold and 
rainy. When played indoors the beds may be marked out by 
white tape as on the green lawn, only in this case wooden clothes- 
pins would be of no use, and thumb tacks, such as are used by 
artists, must take their place to fasten the tape down on a bare 
wooden floor, and safety-pins when the floor is carpeted. 



CHAPTER XIV 



JOLLY LITTLE SANTA CLAUS 

WITH HIS REINDEER AND 
SLEIGH 

O you want to see — actually see! — 
Santa Claus seated in his sleigh 
filled with toys, and driving his 
famous reindeer? You may do so 
and have him come to your home. 
Even if there is no chimney and 
open fireplace for Santa Claus to 
climb through, the blithe little 
fellow can be induced to appear, 
sleigh and all, and he will keep 
his turnout standing perfectly still 

that all the family may have a good, long look at him. But you 

must carefully follow directions and help Santa Claus get ready 

for your Christmas (Fig. 200). 

It would be difficult to say positively how long Santa Claus 

has lived, or when he first made his appearance, but we all know 

just how he looks, 

"His eyes twinkle, his dimples are merry, 
His cheeks are like roses, his nose like a cherry." 

We know that he is sure to come every Christmas, and the girls 
and boys look forward gladly to his visit. The little Hollanders 

163 




164 Parties, Shows, and Entertainments 




Fig. 201. — Ordinary sled. 



name our Christmas Saint Santa Claus, the same as we do, though 
sometimes we call him Kris Kringle. In England he is both 
Santa Claus and St. 
Nicholas, in Switzer- 
land Samiklaus, in 
Russia he is St. Nicho- 
las. But no matter by 
what name he may be 
called, he is always the same, always the jolly little fellow 
bringing good cheer to every one. Santa Claus takes great de- 
light in driving his tiny reindeer and sleigh full of toys over roofs 
of houses for the special benefit of the girls and boys he knows, 
and that includes all of them. 

Possibly Santa Claus will drive only two reindeer in his sleigh 
this year. He is willing, however, to bring them all if you wish. 

An ordinary sled (Fig. 201) will do for the foundation of 



Fig. 202. — Box for top of sled, 

sleigh; any kind will 
them in and over the 
try plush or colored 
blankets. Tack gay- 
colored paper over 
those portions of the 
box which are not con- 
cealed by the robes, 
and lay a small, light 



The Sleigh, 

and a box for the body of the sleigh 
(Fig. 202) to set on the sled (Fig. 203). 
Find some furs to use as robes to 
hang over the sides and back of the 
do — boas, collars, circulars or rugs. Fit 
sides of the box. If you have no furs, 




Fig. 203. — Santa Claus sleigh ready for fur robe. 



Jolly Utile Sanla Claus 165 

board over the top front of the box, resting the ends of the board 
on the sides of the box to make the seat on the sleigh. Cover 
the board with the same paper as that tacked on the box. 
Make two 

Reindeer 

of stiff pastboard like Fig. 204. Now, do not think you cannot 

make the deer because you may not be skilled in drawing, for 

you can do so easily. Take a large sheet of paper and draw on 

it an oblong forty-eight inches 

wide and thirty-six inches high; 

divide the oblong into squares 

measuring six inches on each of 

the four sides, which will give 

eight squares in width and six 

squares in height. With the aid 

of these squares it will be fun 

to copy the reindeer. Number „. „ . . • 

1 J Fig. 204. — Extensions on each hoof. 

the side lines of your oblong and 

letter the top and bottom lines as in Fig. 205. Examine the 
lower corner space of Fig. 205 enclosed by the lines A-5, and you 
will find the hind hoof and part of the hind leg stretching diag- 
onally across the space. Use a soft lead-pencil and begin copy- 
ing the deer by drawing a slanting line from the extreme outward 
lower corner upward about one-third of the distance from the bot- 
tom to the top of the space A-5. This short slanting line forms 
the bottom of the hoof, the little space, enclosed between the hoof 
and the long toe above it reaches very nearly to the centre of the 
lower part of the square A-5. Make yours so. Draw the upper 
edge of the long toe; then run a slanting line up to the top line 
of the square space A-5, and make it touch the top line 5 less 
than one-quarter the distance from the side line A to the op- 




166 Parties, Shows, and Entertainments 

posite line of the same square. Return to the lower part of the 
hoof already begun and draw the inside line of the hoof and 
portion of the leg in the same space, A-5. 

In the space 4-5, immediately above the space A-5, you will 
perceive that only a lower corner is drawn in and that all the 




B C D E F C 

Fig. 205. — Reindeer enlarged enclosed in squares. 

four squares above the square 4-5 are vacant, so continue your 
drawing on the bottom space A-B. The extreme upper corner 
of this is cut off by a short straight line; then a shallow scallop 
extends entirely across the upper part and runs into the third 
lower space B-C. If you notice closely the space enclosed by 
the lines 4-5, A-B, immediately over the one you have been work- 



yolly Little Santa Claus 



167 



ing on, you will see that the corner on the line 4-A is vacant, while 
all three of the other corners are occupied by portions of the hind 
leg, and that the empty space extending from the vacant corner 
4-A forms almost a square with two lines slightly curved and the 
corner diagonally across from the vacant corner 4-A, on the line 
4, cut off by a short line bent bow-shaped. Draw it in the same 
way over the corresponding 
space on your paper. Look 
at Fig. 206, following the line 
on the space 4-5, A-B, and 
you will discover that it is the 
same as in Fig. 205, only 
smaller, and by carefully com- 
paring the two diagrams, Fig. 
205 and Fig. 206, you will find 
the lines are formed alike in 
each, differing only in size; 
thus you will understand how 
you can make your deer very much larger simply by drawing it 
on larger squares. Continue as you have begun, taking one 
square space at a time, and copy on your large squares the out- 
line of the entire deer as given on the squares of Fig. 206. 

When the drawing is finished, go over all the pencil lines which 
form the deer with black paint or ink, making the lines heavy 
and plain, that they may be seen from across the room. As 
soon as the paint is absolutely dry erase the pencil-lined squares. 

To make sure that the deer will stand firmly, extend down- 
ward a slanting line from the top of each hoof and draw another 
level line out from the bottom of each hoof to meet it, according 
to dotted lines in Fig. 204. 

Cut out your deer and with pins or thumb-tacks fasten him 




Fig. 206. — Reindeer enclosed ready to be 
enlarged. 



168 Parlies, Shows, and Entertainments 




Fig. 207. — Reindeer re-enforced by strip of 
wood. 



out flat on another large sheet of paper; then with the soft lead- 
pencil run a line on the paper around the deer, which will give 

you the second deer; outline 
the markings on this like those 
on the first deer; then cut it out. 
If you want six deer for Santa 
Claus' sleigh make them as you 
did the second deer. Back 
each deer with very heavy, stiff 
pasteboard and nail a thin 
strip of wood on each of 
them. Let the wood reach 
from the middle of the head to the edge of the hind leg (Fig. 
207). Fasten the two animals together with three narrow flat 
sticks tacked across from deer to deer, one stick at the centre 
and one on each of the two ends of the slanting strips of wood 
fastened on each deer. The framework will then rudely re- 
semble an inclined ladder. Stand the reindeer in front of Santa 
Claus' sleigh and see how fine they look. 
To represent 

Santa Claus, 

make a large rag doll stuffed with straw or excelsior. It is not 
necessary to spend much time on making the doll, as it will be 
used only once, and will then be almost entirely covered, show- 
ing only the upper portion of the face for which you can mark 
isily with features. Make the boots (Fig. 208) like stockings 
black muslin; have them long and loose enough at the 
ikle to form wrinkles. The trousers (Fig. 209) should be of 
scarlet cotton flannel, fleece side out; the coat (Fig. 210) cut of 
the same material; the cap (Fig. 211) of the red cloth cut melon 
shape, and sewed together. Santa Claus' costume must be 



Jolly Lillle Sanla Clans 



169 



trimmed with bands of fur. Ermine will look best, and it is 
easiest to make. Cut strips of white cotton flannel and mark 




Fig. 208.— Santa Fig. 209.— Santa Claus' 
Claus' boot. trousers. 



Fig. 210. — Santa Claus' coat. 



them with black ink to represent the little black elongated spots 
on real ermine. Trim the tops of the boots (Fig. 208), the neck, 



^ ^ 




Fig. 211. — Santa Claus' 
cap. 






Fig. 212. — Cap trimmed 
with ermine. 



Fig. 213. — Santa 
Claus' wig. 



Fig. 214. — Santa 
Claus' whiskers 
and eyebrows. 



sleeves and edge of the coat (Fig. 210) and edge of the cap (Fig. 
212) with fur. Make the wig of raw white cotton, and fasten 
it on the doll's head (Fig. 213), then the beard, moustache and 
eyebrows also of raw cotton (Fig. 214), and glue them on the 
face. Paint Santa Claus' face pink, his cheeks and the end of 



170 Parties, Shows, and Entertainments 



his nose bright red, and his eyes blue. When dressing him, bring 
the fur-topped boots up over the trousers (Fig. 200). 

With tacks and string fasten Santa Claus in an upright sitting 
position on the seat of the sleigh. Tie a long, narrow red ribbon 
around the neck of each reindeer and pin or tie the ends of these 
ribbon reins on to the mitten-covered ends of the arms which 
form his hands. He will then seem to be gayly driving his rein- 
deer. 

Fill the box of the sleigh with 

Christmas Gifts 
wrapped in bright colored tissue paper. Any article liable to 
break should receive special attention. A cup and saucer (Fig. 

215) is one of the most difficult articles 
to manage, and if you can wrap this 
up, properly, the wrapping of all other 
gifts will be easy. 

Take the saucer first, place it on the 
centre of a piece of tissue paper (Fig. 
216), fold the paper up around it, 
bringing the ends together at the centre 
(Fig. 217). Do the same with the cup (Fig. 218); then crush 
down the top of the paper over the saucer and set the paper-cov- 
ered cup on it (Fig. 219). Now place the two on more paper 
and wrap up both together (Fig. 220). 




Fig. 215. — Christmas cup and 
saucer. 






Fig. 216. — Saucer in centre of tissue paper. 



yolly Little Santa Claus 



171 



If there are not enough gifts to fill the box of the sleigh, open 
newspapers and crush them into the bottom of the box to fill up 





Fig. 217. — Tissue paper over saucer. 



Fig. 218. — Cup in tissue 
paper. 



the extra space; spread white paper over the top of the news- 
papers, and fill in with the prettily wrapped gifts. Each parcel 
should be tied with a ribbon and decorated with holly, mistletoe 
or evergreen (Fig. 220). Cover the top of the paper parcels with 





Fig. 219. — Wrapped cup and saucer 
together. 



Fig. 220. — Cup and saucer ready for 
the sleighs. 



various toys (Fig. 200), and Santa Claus with sleigh and reindeer 
will be ready to surprise the family early Christmas morning. 
Try to have as many home-made gifts in the sleigh as possible. 



172 Parties, Shows, and Entertainments 

Your Christmas Cards 

can be plain white pieces of cardboard decorated with the head 
of Santa Claus made of an almond on which is inked a face; 
the long hair and beard of refined white cotton being glued on 
the nut and a red peaked cap fastened on the top of the head; 
this makes a fine Santa Claus. The head should be glued on 
the left side of the card, and on the blank portion should be in- 
scribed the greeting, "Merry Christmas." 



CHAPTER XV 




A LIVING CHRISTMAS TREE 

HIS Christmas tree is not planted in a tub 
or fastened to a stand; it does not remain 
just where it is put, neither is it attached 
to a mechanical device that makes it whirl 
and spin around dizzily as they sometimes 
do in the shops. It is a living Christmas 
tree, a green Christmas tree all covered with 
glittering ornaments and bright colored 
toys, with little bells at the bottom that tinkle musically as it 
moves, and on the topmost point a brilliant star that sends out 
tinsel rays from every point. Then, a little distance below the 
star, a face — a laughing face with shining eyes that reveal the 
guardian angel of the tree. 

You can keep the preparation of the living tree absolutely 
secret and make it a complete surprise, for it does not have to be 
set up where all may see in order to be decorated, and no hint of 
its existence need be given until the time arrives, the door is 
thrown open and the beautiful, sparkling Christmas tree glides 
slowly into the room. 

How to Prepare the Living Christmas Tree. 

Choose quite a tall girl for the angel of the tree and from dark 
green, undressed cambric cut a long, plain cloak that will fit 
smoothly over her shoulders and hang like an inverted cornucopia 
from neck to feet. 

i73 



174 Parties, Shows, and Entertainments 




Make the Peaked Hat 

out of stiff brown paper, cutting it like Fig. 221, and pasting it 

together like Fig. 222. Cover the hat with some of the green 

cambric, allowing a cape of 

the material to fall from hat 

to shoulders- at the back (Fig. 

223). Get three or four quires 

of moss-green tissue paper, 

cut it into strips six inches 

wide and cut each strip into 

rather coarse fringe, leaving a 

Solid Strip for heading at the Fig. 221.— Cut the hat after this pattern. 

top, two inches wide. Beginning at the bottom sew the fringe 

around the cloak, allowing it to reach just to the edge of the cloth. 

Above the first row of fringe, and overlapping it, sew the 

second row, bringing its lower edge within 

three inches of the bottom edge of the first 

row. 

In this way put on row after row of 
fringe, always overlapping it, until the cloak 
is entirely covered, then cover the hat and 
its cape in the same manner. 

Take a light wooden hoop — one of the 
kind the children roll on the pavements in 
"hoop time," and, turning the edge of the 
cloak up once, fit the hoop in the fold and 
hem the edge over it. This will hold the 
cloak out firmly at the bottom and it should hang smooth and 
straight from the shoulders with a generous lap where it closes 
in front. 




Fig. 222. — Paste it together 
like this. 




The Living Christmas Tree. 



ImveimtebBy 



*75 



A Living Christmas Tree 



177 



Pin the fronts together, leaving an opening only large enough 
to slip over the head. 

Now suspend the cloak on a waisthanger in such a way that 
you can reach it from all sides, and proceed 

To Decorate 

Around the bottom sew a row of small bells, and here and 
there all over the cloak, sew large dress hooks, on which to hang 
the fragile glass ornaments and small pres- 
ents. Pin on the tinsel decorations and 
strings of popcorn with safety pins and 
leave the finishing touches until the angel 
has entered her tree. 

The tall hat, tipped by its bright star, 
may be completely trimmed and put safely 
away until needed. All decorations and 
presents must be light in weight. 

On the eventful night let the Christmas 
tree angel slip into the tree, and, after it is 
nicely adjusted, hang around her neck 
strings of colored glass balls, and suspend 
from the hooks the glass ornaments and 
presents. Put the peaked hat on her head, 
and the living Christmas tree will be ready 
for her triumphant entry. To avoid the 
danger of accident do not allow the tree in a room where there 
are unprotected gas lights, candles or open fire, and let the cloak 
be put on the angel in a room adjoining the one in which she 
is to appear, for going up or down stairs incased in the cloak is 
not to be thought of. 




Fig. 223. — Cover the hat 
and leave a cape of the 
material. 




One of the Booths at the Girls' and Boys' Fair with Articles Made 
by Themselves, 



178 



CHAPTER XVI 
HOW TO GET UP A GIRLS' FAIR 

two or three young friends help you get up the 
fair. Tell them that this is not to be an 
ordinary fair, it will be more interesting 
and unique ; that buyers will find things 
which cannot be purchased elsewhere for 
any amount of money, as all articles for 
sale and even the decorations will be 
made by the girls and boys themselves, 
and duplicates are not to be found in the stores. Inform the 
young people that a prize will be given to the girl and to the boy 
whose work is the best. 




Form a Managing Committee 

and talk over arrangements with them. 

If the fair is to be large, you will need either one large room 
or several small ones. 

When the question of place has been settled to the satisfac- 
tion of all, make out a list of the various girls and boys who will 
help with the entertainment, and divide the list into as many 
parts as there are young people on your managing committee, 
including yourself. Give each member of the committee his or 
her portion of the list, with instructions to see every person whose 
name is on the paper and find out what each particular one will 
promise to make for the fair. Do not confine the soliciting to 

179 



180 Parties, Shows, and Entertainments 



young people of your own little circle, ask for contributions from 
all the girls and boys your managing committee are able to reach. 
Some may want to make several articles each, others may wish to 
do the decorating, and so on. Space must be provided on the list 

of names for writing down under each 
name the articles promised (Fig. 224). 
Let each contributor understand 
that every article sent in must have 
the name, age, and address of the 
/do4*JL ^L./?£^-^- 6 ' sender written in ink and fastened se- 

curely on each separate article, that 
every girl and boy may receive full 
credit for what she or he has made 
(Fig. 225). 

In addition to the attractive booths 
AuauJ^feg/tu- &4-Z- you should have the ever popular 

v / fULit- . «^_ grab-bag and the 






3Z* 



"Jfe****** 



tm/tj 



la******* 






"Four and twenty blackbirds 
Baked in a pie" 



Fig. 224. — List of promised articles. 



will be just the thing. 
Take an ordinary wooden tub (Fig. 226), cover the outside 
with gay tissue paper laid on in flat plaits from top to bottom. 
Paste the paper along the inside of the top edge, carry it over on 





Fig. 225. — Card ready to attach to 
one article. 



Fig. 226. — A tub like this for the 
blackbird grab-bag. 



How to Get Up a Girls' Fair 



181 



the outside down under the bottom edge. Cover the handles 
with the same paper, and fasten ribbon bows on the outside of 
the handles (Fig. 227). If the tub is covered with pink tissue 





Fig. 227. — The grab-bag tub covered 
with colored paper. 



Fig. 228 — Package ready for 
grab-bag. 



paper, tack pink ribbons on the handles; if red paper is used 
fasten green on the handles. 

Fill the bottom of the tub with large, lightly crushed pieces of 
newspaper, cover these with a double layer of smooth paper, 
leaving sufficient space at the top for a layer of sawdust, bran or 
sand, deep enough to cover the different sized articles intended 
for the grab-bag. Each separate article must be wrapped in 
paper and tied with 
a string (Fig. 228). 

Make as many 

Blackbirds 

as you can place con- 
veniently, without too 
much crowding, on 
top of the pie. 

Use medium stiff 
cardboard or smooth 

Water Color paper, not Fig. 229.— Pattern of blackbird. 




182 Parties, Shows, and Entertainments 



too limber, for the birds. 



of Fig. 229, as the birds must be life-size 



Cut them from an enlarged pattern 
Paint or ink the bird 
black on both sides and, when it is dry, bend up the tail in a 
curve. Bend up the neck at dotted line of Fig. 229. Pinch to- 
gether the beak and bend it downward, bringing the head forward 
at dotted line of Fig. 229. Turn up the wings according to 




U 



u 



Fig. 230. — Blackbird bent in shape. 



Fig. 231. — Bend one Fig. 232. — Top 
end of a hairpin of hook bent 
into a square hook. into handle. 



dotted lines on Fig. 229, and curve them over and outward at 
the top (Fig 230). Puncture two holes in the back of the bird 
at the dots A and B (Fig. 229). 

There must be a handle for lifting the blackbirds; make it 
of a hairpin. Bend one end of a wire hairpin into a square hook 
(Fig. 231) and slide the longer end up through the foremost hole 
on the underside of the bird ; tie the centre of a string, nine inches 
long, on the horizontal bend of the hooked end of the hairpin; 
then push the short end of the hook up through the other hole 
in the bird, bringing the string up close against the bird's breast. 
Bend the short end of the hairpin down on the bird's back 
and flatten it with a hammer. Curve the top of the hairpin 



How to Get Up a Girls' Fair 



183 



into a handle (Fig. 232) and fasten the hooked end of the hairpin 
more securely to the breast and back of the bird by pasting a 



^O" 



&o 




Fig. 233. 



-Hairpin fastened to back 
of bird. 




Fig. 234. — Hairpin 
fastened to breast 
of bird. 



piece of paper over the short portion of the hairpin lying over 
the back (Fig. 233). Push the paper up tight around the edge 
of the wire. Paste another piece of paper over the short length 
of hairpin on the bird's breast in the same manner (Fig. 234). 
Set the blackbird away until next day, when it will be perfectly 

dry, and you will find the hair- , 

pin secure in its place, standing 

straight and steady. 

Tie the two ends of the string 

together into a hard knot; then 

bend one half of another wire 

hairpin into a hook (Fig. 235) 

and fasten it securely on the string 

at the end of the loop; twist the 

long handle of the hairpin hook 

(Fig. 235) around and over the 

string, as shown in Fig. 236. 



Fig. 235. — Make a 
hook of another 
hairpin. 



Fig. 236. — Fasten the 
hook to the string. 



184 Parties, Shows, and Entertainments 



Instead of making one complete blackbird at a time, it will 
be much quicker and easier to make a pattern and cut out all 
your blackbirds first; then ink or paint them all, and continue 

working on them in this way until 
all are finished about the same 
time. It will not take long when 
once you have the pattern en- 
larged, and you can make the 
pattern the proper size by the sys- 
tem of squares, large and small, 
as explained in Chapter XIV. 

When the birds are made and 
ready for the pie, hook 

A Package on Each Blackbird 

(Fig. 237), and hide the parcel 
and string down under the saw- 
dust, resting the bird on top of 
the pie ; then when any one wants 
to purchase a "grab" let him lift 
any bird he chooses from the pie 
by means of the hairpin in the 
bird's back. 

The girl or boy in charge must 
take the parcel from the hook, 
give it to the purchaser, quickly 
Fig. 237-— Blackbird with package ready slide another package on the 

hook and sink it down in the pie 
in place of the first one. While the purchaser is left entirely 
free to choose, she should take care not to disarrange the pack- 
ages in the pie. 





The Blackbird Pie. 



185 



186 Parties, Shows, and Entertainments 

Extra packages must be kept in a covered box or basket at 
one side, back of the "Blackbird Pic." 

Another original idea for your fair will be 

The Express Office 

At this table each article must be daintily tied up in white paper 
and the package labelled with the Christian name of one of the 
young people. Wrap up a number of articles that your friends 
may find parcels waiting for them when they call at the express 
office. The packages should also bear the name of the city from 
which they are supposed to have been sent. For instance, if you 
have a friend named Mary, and Mary happens to be acquainted 
with some young people in Cincinnati, mark the parcel for her 
with the name Mary and the place Cincinnati, Ohio: The addi- 
tion of the name of some city will add greatly to the interest 
and excitement when the package is received. 

Though a package may be intended for a certain person, 
any one with the same Christian name may purchase the article, 
but it cannot be sold to a buyer bearing another Christian name, 
and should some one come for an express package and the express 
agent be unable to find a parcel labelled with the purchaser's 
name, the would-be buyer must leave the office empty-handed. 

The uncertainty of finding a package at the express office 
lends a certain charm to this table, for every one will feel some 
curiosity to ascertain for a surety whether he or she is included 
with the fortunate ones whose names appear upon packages. 

Arrange all your articles for the express office in alphabetical 
order, those on one side of the table for girls, and on the other 
side for boys; then the parcel bearing the name called for may 
be quickly handed out to the inquiring purchaser. 



How to Get Up a Girls' Fair 187 

Letters to Girls 

and letters to boys are easy to write. Ask as many friends as 
possible to write one or more letters to any companions they 
choose whom they think will attend the fair. The letters must 
be signed by fictitious names, never the writer's own name or the 
name of any real person; then those receiving the missives will 
have the sport of trying to find out which of their friends actually 
wrote the letters. 

Several days before the fair opens all the mail, after being 
addressed and sealed, should be sent under additional cover to 
you personally. 

The Post-office 

must be made very attractive, though it need not occupy much 
space. A mere corner of the room screened off with dividing 
drapery of turkey-red cotton cloth or any gay material will 
answer the purpose. Open the drapery at the centre division and 
make a three-cornered tent-like window in front between the two 
curtains with the aid of a chair. Place a box on the chair reach- 
ing to the top of the chair-back, set the chair between the two 
curtains, turn its back toward the people and cover it with the 
same material used for the curtains; then pin this drapery to 
the curtains on each side. 

The Decorations 

must be very simple and inexpensive; something which can be 
made easily and quickly, and when finished they should be bright 
and effective. 

Have your decorating committee cut a number of flags from 
different colored tissue paper or low priced muslin varying in 
length, anywhere from ten to fifteen inches, and in width from five 



188 Parties, Shows, and Entertainments 



to nine inches (Fig. 238 and Fig. 239). If the ceiling is very 
high the flags may be larger. 

Paste the straight dotted edge of each flag over a strong string 
long enough to extend in a graceful loop from the centre of the 





Fig. 238.— Pattern of 



Fig. 239. — Pattern of pennant. 



ceiling to the side wall (Fig. 240). Place the flags about twelve 
inches apart on the string and make four strings to reach to the 
four corners if the room is small, if large, a dozen or more flag- 




Fig. 240. — Flags for decoration. 

strings, according to the size of the room. Have a generous 
supply. 

Tie one end of each of the flag-strings close to the ceiling 
on the chandelier or lamp hook. Wind an extra string tight 
around and over the string-knots on the chandelier to hold the 



How to Gel Up a Girls Fair 



189 



strings in place and keep them from slipping down. Tie the 
free ends of the flag strings to picture- hooks and fasten the hooks 
on the picture-moulding. In this way you can obtain good results 
without the slightest injury to the walls. Should there be no 
picture-moulding, fasten the strings to large, strong tacks or small 
wire nails driven in on the top ledge of the window and door 
frames where they will do no harm. 

Fasten extra strings from top of window and door frames, and <r 



=» 




Fig. 241. — Fringe cut for 
tassel. 



Fig. 242. — Winding 
top of fringe into 
tassel head. 




Fig. 243. — Tassel ready 
for decoration. 



draw them taut along the walls, then tie the intervening flag- 
strings on these and the effect will be much the same as with 
picture-moulding, almost like a tent of small flags. 

Hang a long, gay tassel on the wall at the end of each flag- 
string. Make the tassels of bright tissue paper. Take the once 
folded sheets of the variously- colored tissue paper as they come 
from the store, and cut them into long fringe, lengthwise of the 
folded sheets (Fig. 241), making each separate strand of fringe 
not less than one inch wide. Pinch the twenty-inch-length 



190 Parties, Shows, and Entertainments 

fringe together at the top, wind and tie it with a string (Fig. 242), 
allowing one end of the string to extend out at the top; wind 
farther down and tie again to form the head of the tassel four and 
one-half inches from the extreme top (Fig. 243). 

These large tassels tied to picture-hooks by eight or twelve 
inch lengths of string wound with gay paper and attached to 
the picture-moulding at the end of each line of flags make a fine 
finish and form a decoration for the walls. 

Let your tables be of different sizes, and cover them with 
white cotton sheets folded in such a way that the sheet will fall 
within one inch of the floor at the front and at the two sides. 

Decorate the white covering in various ways, making the 
tables gay with inexpensive colored cambric, or crimped tissue 
paper. The plain tissue paper will not be strong enough to use 
for this purpose. 

The first covering of white gives value to the colors, causing 
them to appear even more brilliant than they are in reality, and 
it also renders it possible to use much less colored material than 
would otherwise be required, in this way lessening the outlay for 
decorations. But in order not to tear the muslin sheets while 
fastening on the decorations, paste must be used in place of tacks 
or pins. 

Make the colored material into wide strips cut into points 
or fanciful designs and paste the strips at their upper edges 
along the top of front and sides of the white covered tables, allow- 
ing the lower edge to hang entirely free, except where pendant 
portions are inclined to stand out ; these may be fastened in place 
with a little paste. 

Cut some of the strips about fourteen inches wide; others 
wider, a few narrower; and make each strip long enough to reach 
around the front and two sides of one table. Lay a brilliant red 



How to Get Up a Girls' Fair 



191 



strip eighteen inches wide down on a flat surface and fold cross- 
wise through the centre; fold again and again until the piece 



>v<>V<n,VoV^>^o^< 




245. — Unfolded red paper ready for decorating 
fair booth. 



^ 







R 



C 



f\ 



l 
\ 



\ 



Fig. 244. — Red paper 

folded for cutting 

design. 



is of the desired width, about 

two and one-half inches; then 

cut according to dotted lines 

(Fig. 244). Open out and cut 

off every other lower ornament and you will have 

Fig. 245. Attached to a table this decoration 

gives the effect seen in the first illustration. 



Fig. 246.— Folded 

paper for green 

decoration. 




Fig. 247. — Green decoration cut and opened- 



192 Parties, Shows, and Entertainments 



Fold and cut a green strip fourteen inches wide like Fig. 246. 
Open and it will be Fig. 247. Another design of orange color is 
given in Fig. 248 and Fig. 249. 

You can devise many other decorative designs fully as 
attractive at these, and it is well to experiment 
with pieces of old newspaper, cutting them into 
various designs until you find just what you 
think will make good patterns. In this way your 



J 



/ 



Fig. 248.— Orange 

design ready 
to cut. 




Fig. 249. — Orange design open. 

originality is brought out and in a measure 
your artistic sense developed. 
Select a cheery, happy girl for 



Postmaster 

— one who cannot help giving a bright smile with every letter, 
and try to induce her to make some pleasant appropriate remark 
when handing out the mail, as this will add much to the enjoy- 
ment of the occasion. 

More important though than anything else will be the large, 
the small, the useful, the beautiful and the odd articles for sale 
made by the girls and boys. There should be a lot of original 
valentines, May baskets, Easter-egg novelties, paper fireworks, 



How to Get Up a Girls' Fair 193 

Hallowe'en games, funny and instructive toys, tiny log cabins, 
scenes from Japan, Russia, the Philippines, and many other in- 
teresting things, not forgetting the Punch and Judy shows, the 
circus, the seven wonders of the world, and the home-made rugs, 
candles and candlesticks. 

The post-office entails little or no extra expense and money 
taken in for letters will be almost clear gain. Expense incurred 
by the entire fair need be but slight and all the proceeds might 
be devoted to some charitable purpose. 

One of the best of objects for the money obtained by your 
fair is the "Fresh Air Fund," which helps the poor little suffering 
city children to a breath of pure fresh air and saves the lives of 
many frail girls and boys. Think how glad you can make some 
of these young people; then, of all the enjoyment your own com- 
panions will have in getting up the fair, and how proud and happy 
your parents and teachers will feel when they see the result of 
your work. If a "Fresh Air Fund" does not exist in your locality 
there are other methods of using your profits to good ends. 
Really there is no telling how much good your fair may accom- 
plish in many ways. 




CHAPTER XVII 
CAMPING OUT IN YOUR BACK YARD 



*HO is ready to go out on a camping ex- 
pedition to Make- Believe Land? 

It is a wild land, full of wild creatures 
if you choose to believe in them. Cats 
you will probably meet on the trail, and 
they are wild ones if you will. Wolves, 
too, may prowl around, for what else are Tramp and Nipper, 
your own dearly loved dogs, but descendants of the wild wolf. 
There will be plenty of sailing, fishing and outdoor sports. 
Guides can be secured at headquarters and you will not have 
to travel far, for the camping ground is your own back yard. 
You must have your 

Camping Outfit, 

as all campers do, and it is the proper thing to think, plan and 
talk much about this same outfit. As the trip is to be made 
overland and you will have no camping wagon, use bags for 
carrying the various articles needed in camp. Old flour bags 
are just the thing. Into these you can put all your things except 
perhaps the camp kettle. The camping party should be sup- 
plied with a tent, a hatchet, a camp kettle, coffee pot, tin plates 
and cups, old knives, fork and spoons, a tin pail and dipper 
and a tin wash-basin; all these, as well as provisions must be 
taken on the journey in true campers' fashion, for there should 

194 




195 



Camping Out in Your Back Yard 197 



be no running back from Make- Believe Land to get forgotten 
articles. Shawls and blankets to spread on the ground if it 
seem too damp will be a welcome addition to the outfit, and the 
party should be provided with sharp pocket knives for whittling 
stakes and for other needs. 

Select the site of your camp and pitch your tent with reference 
to the clothes line, for the line is to support the tent and act as 
a ridge pole. 

Make the Tent 
of two muslin sheets sewed together along two of the edges, one 
edge on each sheet, which run from the wide hem at the head 
to the narrow hem at the foot of the sheet. Tie a tape on each 





Fig. 251. — The sheet is ready to put up for 
the tent. 



Fig. 250. — Tie the corners of the sheet 
with tape. 

of the four comers (Fig. 250) and tie a tape at 
the centre of the ends of the tent sheet- covering. 
This will give three tapes on each side of the 
tent — six tapes in all (Fig. 251). ) < 

Make six wooden pegs resembling Fig. 252. 
You can have them either round, square, three- 
cornered or irregular; the only essentials are that 
the pegs be strong and large enough to hold the 
tent securely. Have a notch cut near the top for \ / 

the tape and a point whittled at the bottom that 
the peg may be easily driven into the ground, wooden tent peg. 



198 Parties, Shows, and Entertainments 




Look about carefully and decide exactly where you want the 
tent placed on the clothesline; then hang the crosswise centre 

of the covering evenly over the 
line. Hold the top ridge centre 
in place with clothespins while 
you stretch one side out away 
from the clothesline, and peg it 
to the ground by tying the tapes 
around the pegs and pushing 
the pegs slantingly into the 
Fig. 253.— This is the way to peg your tent to ground, with the peg head run- 
ning from and the point directed 
toward the tent (Fig. 253). Remove the clothespins and peg 
down the other side of the tent in the same way. 
Find the best place near the tent for 

A Table, 

and make the table in true woodsman fashion. Take four strong 

forked sticks, sharpened on the lower end, and drive two of them 

into the ground in a straight line about one foot or more apart, 

and the remaining two in a 

line with, and two feet from 

the first sticks (Fig. 254). 

Have the sticks stand above 

the ground about two feet, or 

the height you want the table, 

and keep the crotch, or angle 

where the two forks separate, 

on all the sticks at an equal 

height from the ground. Lay 

, . ■, i • <• Fig- 2 S4- — The sticks are laid across the table 

a stick across each pair of i egs rea dy for the board. 





Camping Out in Your Back Yard 199 



forked sticks. Get a piece of board, rest one end on each of the 
supports you have just made, and you will have a rustic table, 




Fig. 255. — Your little camp-table. 

strong and suitable for any camp (Fig. 255). Use wooden 
boxes for seats. Select one box for your 

Safe or Cupboard 
in which to keep supplies and camping utensils. Fit one or two 
shelves, made from a side of another wooden box, in the cup- 




Fig. 256. — Nail the cleats inside the 
box for the shelves. 



Fig. 257. — This is your camp-cupboard 
made of a box. 



200 Parties, Shows, and Entertainments 

board. Do this by first nailing strips of wood, for cleats, on the 
inside of each side of the cupboard at equal distances from the 
bottom (Fig. 256). Slide in the shelves, resting each on two pieces 
of wood (Fig. 257). Set a lot of lids of tin cans in the cupboard 
to serve as camping plates, also a few tin spoons, an old table 
knife, a kitchen fork or two, three tin cups, and a smooth, clean, 
folded piece of white paper for a table-cloth. 
Now for 

The Spring 

Ask your mother to let you have a large, clean pail suitable for 
drinking water. Carry the pail to the opposite side of the yard 




Fig. 258. — Sink the pail part way into the ground. 



from your tent. There dig a hole large enough to sink the pail 
down about half its height (Fig. 258). Bank the loose earth up 




Fig. 259. — Bank the earth up around the pail for the spring. 



Camming Out in Your Back Yard 201 



all around the pail (Fig. 259), and cover the earth with leaves, 
grass, moss and vines ; hiding the pail completely with the green- 

k6 




Fig. 260. — Like a country spring in your back yard. 

ery; then fill the pail with fresh, cool water, and lo: there is 
your mountain spring (Fig. 260). 

A clean tomato can, free from rust, with the top removed, 
will make 

A Fine Pail 

for carrying water. You can make a hole in 
the tin, near the top on each side of the can, 
by hammering a good- sized wire nail through, 
and then form a handle to the pail by thread- 
ing one end of a piece of twine through each 
hole and tying a large knot on the outside to 
prevent the string from sliding out of place 
(Fig. 261). When you need water in the 
camp, always go to the spring for it, and 
carry the water in the little tin pail. 
It is not necessary to have a real 




-The camp-pail is 
of a tin can. 



Camp Fire, 

but you can pretend there is one. Drive two forked sticks in the 
ground a short distance from each other; lay a stout stick across 
from one to the other forked stick; then pile up some dry twigs 



202 Parties, Shows, and Entertainments 



midway between the stakes. Tie a strong cord on the centre of 
the cross stick, leaving one end long enough to loop down and 
under the handle of a pail or kettle and reach up and tie to 




Fig. 262. — You can pretend to cook over the make-believe fire. 

the short end of the cord. You can put various things into the 
camp kettle and pretend to cook them over the make-believe 
fire (Fig. 262). 

Of course you must have a boat, for there are lakes in Make- 
Believe Land and plenty of fish to be caught, so 

Make a Boat 

for your camp. Select a rather long, narrow wooden packing- 
box (Fig. 263), and on each end tack an extra pointed pasteboard 



Fig. 263. — A low wooden packing-box for the boat 



end (Fig. 264). To make the pasteboard end you will have to 
measure the height of the packing-box, and cut from an old 






Fig. 264. — The box with its pasteboard ends. 



Camming Out in Your Back Yard 203 



pasteboard box a strip of pasteboard wide enough to fit the 
height of the wooden box and long enough to allow for tacking 
on the end of the wooden box and extending 
far enough out beyond the box to form half, 
or one side, of the pointed end with two 
inches over. Score the extra two inches and 
bend (Fig. 265) ; the bend A forms' the ex- 
treme end when the pasteboard point is 
bent in shape. Cut another strip of pasteboard two inches 
shorter than the first strip, and sew it on the two-inch bent flap 
of the first strip (Fig. 266). Score the two ends of the long strip 



A 
Fig. 265. — The pasteboard 
strip with end bent. 









Fig. 266. — The second pasteboard 
strip is sewed on first strip. 



Fig. 267. — The pasteboard Is now 
ready to be tacked on to box mak- 
ing pointed end. 



and be careful to score them on the side that will cause the 
pasteboard to bend outward in the right direction, then bend 
(Fig. 267). 

Tack the pasteboard strip on the end of the wooden box and 
make another pasteboard point for the other end of the box 
(Fig. 264). Cover both pasteboard ends with stout paper by 
gumming the paper over and down on the outside top edge of the 
pasteboard points. 

Make the boat seats of short boards laid across from side to 
side of the wooden box and nailed in place (Fig. 268). Use 
broom-sticks for oars, and make believe the boat is off on the 
water, a long distance from the tent. 



204 Parties, Shows, and Entertainments 




Fig. 268. — With the seats in place it is a boat. - 

If you want to play that you are 

Out Fishing 

in the boat, take any kind of long sticks or walking canes for 
fishing poles, with common string for line and a bit of paper tied 
to the end of the string for bait. When vou want to turn the 




Fig. 269. — The row-boat is turned into a sail-boat. 



Camping Out in Your Back Yard 205 

row-boat into a sail-boat, you can tack a three-cornered piece of 
white cloth on the end of a pole and rig up a sail (Fig. 269). Cut 
a hole in the forward centre of the bottom of the boat immediately 
next to the covered bow, run the pole through the hole down into 
the earth until it is well planted in the ground and stands straight 
and steady; then tie a string to the free end of the sail and fasten 
the string to the boat to keep the sail stretched out, just as if there 
were truly a good stiff breeze and you were sailing along at a 
rapid rate with the spray dashing upon, and at times over, the 
sides of the boat. 

If your back yard is large and you need more tents for friends, 
erect several, one on each stretch of the clothesline. Should the 
line be fastened to four posts, a tent can be put up on each of the 
four turns of the clothesline, making a little settlement of tents. 




Playing Tether-Ball with the Home-Made Game. 



206 



CHAPTER XVIII 




OUTDOOR FUN WITH 
HOME-MADE TETHER-BALL 

ITH an outlay of a few cents you can 
make this entire tether-ball game and 
make it well. The common hollow 
rubber ball should be two and a half 
inches in diameter — about the size of 
a tennis ball. You will not need any 
money for the two rackets, which are 
cut from old boxes or shingles. 

The Pole 

may be a stationary clothesline post, a small, unused flagstaff, 
an extra long clothesline pole, a long curtain pole, or a very long, 
straight bean pole, and for smaller children the handle of an old 
long-handled broom will answer. 
Use strong, soft twine to make 

The Cover for Your Ball 

Cut twelve pieces, each twenty-four inches in length ; place all 
the lengths straight and evenly together; then tie a string around 
the entire bunch, an inch and one-half from the centre (Fig. 270). 
In this figure and several other diagrams the single strands of 
twine are not drawn in detail, because, should every separate 
thread be outlined, much confusion might ensue. 

207 



208 Parties, Shows, and Entertainments 



After tying the lengths of twine together, separate the longest 
part into three divisions of four strands each (Fig. 271). Braid 
\ 




Centre. 



Fig. 270.— Tie all 
the strands of 
the string to- 
gether. 




Fig. 271.— Tying the 
strings for the tether- 
ball covering. 



Fig. 272. — The braid for ball loop. 

these strands together in one braid, beginning close to the string 
tied around the bunch; continue braiding firmly and tightly for 

the distance of two and a half or 
three inches (Fig. 272), then untie 
and remove the string from around 
the bunch (Fig. 273); bring the two 
ends of the braid together, and joining 
all the loose strands 
into three bunches of 
eight strands each, 
braid 
braid 
When 
braid 
long, 
string 




all into one 
(Fig. 274). 
this larger 
is one inch 
with another 
tie the loose 



ends of it firmly to- 

Ffe. 273.— Untie and remove the string, gether close up to the 




Fig. 274. — Braid 
into one braid. 



Outdoor Fun with Tether- Ball 



209 



braid. You will then have a braided ring on a braided stem. 

Wind the stem with an extra string; then tie a hard knot and cut 

away the ends of the string (Fig. 275). 

Divide the loose strands into bunches of three strands each, 

making eight bunches (Fig. 275). Pin the stem down to some- 
thing stationary and firm ; then take three 
strands, or one bunch, in each hand, and 
pass the first finger of your left hand be- 
tween the two bunches; hold it there while 





Fig. 275. — The strands are 
ready for netting the ball 
cover. 



Fig. 276. — First step 
in tying string 
covering for the 
ball. 




Fig. 277.— Tie the 
knots in this 
way. 



you carry the bunch in your right hand across the bunch in your 
left hand; this forms a loop. Do not take your finger out of 
the loop until the entire double knot is made. Bring the bunch 
from your right hand under and through the loop formed by 
the crossing of the bunches; this will give Fig. 276. Pull the 
strings until the tie is a short distance from the stem; then tie 
the same strands again to form a firm knot. Fig. 277 shows the 
method. 

Tie together two more bunches, and two more, until all the 
bunches have been used and you have made four knots (Fig. 278). 



210 Parties, Shows, and Entertainments 



Fit the network over your ball (Fig. 279), allowing the covering 
to remain on the ball while you tie the bunches of strands into 

another row of four knots 
below the first row. Look 
at Fig. 278. The bunches 
are all numbered, showing 




Fig. 280. — The second row of 
knots in ball covering. 



Fig. 281. — Covering of tether-ball almost 
complete. 



Outdoor Fun with Tether-Ball 



211 




Fig. 282. — Tying final knot on the bottom 
of the ball. 



how they are to be united. 
Corresponding numbers must 
be tied together: 1 with 1, 2 
with 2, and so on. The re- 
sult will be like Fig. 280. 

Keep the ball in the net 
and make another lower row 
of knots, which will give you 
Fig. 281. 

Now turn the ball over 
and tie two opposite bunches 
of strands up tight and firm 
against the bottom of the 
ball (Fig. 282 A). Bring together the remaining two bunches, 
B and C, and tie them over the knot A. Again tie in a hard, 
firm knot ; then bind all the strands together by winding with a 
separate piece of string. Fasten securely. 

It is necessary for the ball to be covered, so that it may have 
a strong yet harmless ring at the top, for no metal may be used 
on the ball. 

Before erecting the pole you must mark out 

A Court on the Grounds 

Drive a stick in the earth where you want your pole to stand. 
On this stick tie a piece of string close to the ground; then sharpen 
the end of another short stick and tie the other end of the string 
on the second stick near its top; let the 
string measure two and one-half feet from 
one stick to the other stick. Pressing the 
point of the second stick slantingly against 

Fig. 283.— Mark out the tether- , , . -i i i • 

ball court in this way the earth, run it around and around in a 




212 Parties, Shows, and Entertainments 



circle until a circular line is distinctly marked (Fig. 283), then 
you can pull out the stake and dig a hole where it stood at the 

FX 



FX 




V. 

Fig. 285.— Cut a notch 
near the top of the 
pole. 



Fig. 284.— The tether-ball court. 

centre, and plant your pole. 
Mark a straight line across 
the centre of the circle and 
extend this straight line be- 
yond the edge of the circle 
six feet on each side. On 
opposite sides of each of 
the straight lines running 
out from the circle mark 
a cross about two and one- 
half feet from the circle and 
two and one-half feet from 
the line, F and F (Fig. 284). 
The cross designates the 
spot where the 
player on either 
side must stand 

to serve the 

ball when the 




Fig. 286. — The tether pole is erected and ready 
for the game. 



Outdoor Fun with Tether-Ball 



213 




game begins. The crosses are called 
service crosses. 

The length of the tether pole you 
are to use depends upon your height 
and that of your 
young friends. 
Make the pole 
long enough to al- 
low being planted 



Fig. 287.— This is Fig. 288.— sec- sufficiently deep 

the first [step in ond step in 

tying the ball to tying ball to to be firm and 

the poie-string. poie-string. stea dy and extend 
up above the surface of the ground, ver- 
tically, to the height of about three feet 
above your head. Cut a notch near 
the top of the pole before erecting it 
(Fig. 285). Tie one end of a long 
string fast around the notch. The 
string must be well waxed, twisted 
and doubled and waxed again, and it 
must reach within two feet of the 
ground. Tie the ball on the loose 
end of the string and erect your pole 
so firmly that it will not even tremble 
when you bat the attached ball ever so 
vigorously (Fig. 286). Fig. 287 gives 
the first step in tying the ball on the 
pole string. D is the end attached to 
the pole, E is the loose end. Pass E 
under D, then around back again over 
D and through the loop (Fig. 288); 




Fig. 289. — The tether ready to 
play. 



214 Parties, Shows, and Entertainments 



repeat this stitch over and over, drawing the string very tight 
each time. Finish by tying the E end of the string on the D 
end in several knots. Examine Fig. 289. It will give you the 
process of tying, but the knots are drawn loose that you may see 
how each is made. Paint a red ring around the pole just above 
the height of your head. Make 

A Pattern for the Rackets 

of a piece of paper twelve inches long and five and one-half inches 
wide ; fold the paper lengthwise through the centre and cut ac- 
___^ cording to curved line in 

Fig. 290. Open the pattern 

and lay it over a shingle, 

the handle at the thickest 

part; draw a pencil line 

around it and carefully 

whittle out the racket. 

Smooth down the rough 

edges with sandpaper (Fig. 

291). Make a second 

racket in the same way. 

Now let us thoroughly un- 



W 



Fig. 290.— Paper pattern derstand the meaning of the Fig- 291.— The finished 
for the racket. ,. . . £ ,-, , , , racket looks like this. 

divisions 01 the court before 
attempting the game. Inside the ground circle no one shall go, 
for it is not allowable at any time during the game to step on, or 
within, or reach over the circle line on the ground surrounding 
the tether pole. The straight line is used to divide the ground 
into two courts, one on each side of the line, making a separate 
court for each player. 

The cross in each court is intended to mark the spot where 



Outdoor Fun with Tether- Ball 215 

a player must stand to "serve" or strike the ball when the game 
first begins. The player must stand on the cross of the chosen 
court while serving; at other times during the game she may go 
any place within her court, but she must stay in her own court on 
her own side of the line. 

The Object of the Game 

is for each player to strike the ball on the end of the string in 
such a way as to cause the string with ball attached to wind com- 
pletely around the pole above the red band. 

The game is intended for two players, and it begins by each 
one, in turn, tossing a small stone or piece of wood as near as 
possible to the tether pole while standing at a spot, previously 
marked, ten feet from the pole. The girl landing a stone nearest 
the pole has first turn and choice of courts ; the other player must 
go in the court on the opposite side and beyond the circle. 

The server holds the ball in her hand and, striking it with 
her racket, endeavors to send the ball winding around, the pole, 
but as the ball approaches the other player or opponent, the 
opponent tries to stop the progress of the ball with her racket 
and send the ball back to wind around the pole in the opposite 
direction. As the ball returns toward the first player, a second 
time she endeavors to strike it and wind the string her way around 
the pole. In this manner the ball is kept going back and forth 
between the two players until one player succeeds in winding the 
entire string and. ball above the red band; this wins the game, 
and the girl winning the greatest number of games out of eleven 
wins the set. 

While playing the game the ball may be struck but once at 
a time, no player being allowed to have two or more trials during 
one turn. 



216 Parties, Shows, and Entertainments 

The turns shall alternate between the two players. 

If a player fails to send the ball into her opponent's court on 
its way around the pole, the failure is called a fault, and the player 
making the fault loses her turn. The lost turn goes to the op- 
ponent, who then stands on the cross in her own court and has 
a free strike at the ball. 

If a player strikes the ball more than once during one turn, 
she is guilty of a fault, and loses her next turn. If a player over- 
steps the boundary of her own court in any way, she is guilty of a 
fault and loses a turn. When the string winds around the handle 
of the racket, or winds about the tether pole below the red band, 
the player so winding the string commits a fault and loses a turn. 

All faults give the opponent a free hit from the cross on her 
own court. 

When grown-up girls and boys play tether-ball, the pole 
must stand nine feet high when erected. The red band on the 
pole must be six feet above the ground. The circle on the ground 
around the pole must be three feet in diameter. The straight line 
dividing the courts must extend ten feet outward from each side 
of the pole, making the entire length twenty feet. The ball must 
hang, when at rest, two and one-half feet from the ground. 

This game may be played by sides, of equal numbers. 



PART II 

MINIATURE SEVEN WONDERS 
OF THE WORLD 




CHAPTER XIX 
THE PYRAMIDS OF EGYPT 

F F you could have seen a certain little boy who 
lived so long ago that it would make you dizzy 
to try to think back to the time when he ran 
about playing and learning many things, you 
would have thought him a queer looking little 
chap. He was not clothed like boys of our day, 
and his skin was almost a copper color, resem- 
bling somewhat that of the American Indian. 
His name was a very odd one, spelled C-h-e-o-p-s 
and pronounced Ke-ops — possibly his comrades 
nicknamed him "Key" when they played to- 
gether on the sand. He had another name, Khufu, and it is hard 
to tell which the boy liked better. 

Cheops's Home 

was in Egypt, where there are more crocodiles than you can 
count, and doubtless the little brown fellow, at a safe distance, 
enjoyed watching the sleepy creatures while he vaguely won- 
dered why crocodiles always crawled up on the banks to lie so 
long and still in the sun. There were many other strange ani- 
mals and queer Egyptian things — unlike any you have ever 
seen — that interested and delighted the child. When Khufu 
grew to be a man he was 

219 



220 Seven JVonders of the World 



A Great Monarch, 

an Egyptian King, and instead of watching crocodiles busied 
himself watching and ruling a nation. The King did not bother 
greatly about the house he lived in, but spent much energy and 
many years in building an enormous pyramid, the largest ever 
erected at any time. When you grow older you may possibly 
take a trip to Egypt and see this 

Wonderful Structure, 
built 900 B.C. It is made of huge stones, most of them thirty feet 
long, five feet high and four or five feet wide. How do you sup- 
pose men ever managed to lift such monstrous blocks to build 
the pyramid? Well, they were obliged to labor very hard, for 
it took two hundred layers of stones for the pile, and all the work 
was done with the utmost care and precision. 

You must also use care and precision in building your Egyp- 
tian pyramids. Have them exact, and in place of the heavy 
stone blocks use 

Coarse Sandpaper 
If possible, get it of a tawny yellow hue, that the miniature pyra- 
mids may be the same color as the originals, now that the outside 
casings of the latter are off. King Cheops had an army of one 
hundred thousand men laboring constantly during twenty long 
years to pile up his stones. You can make your Khufu Pyramid 
in twenty minutes and need employ only ten fingers instead of 
one hundred thousand men. 

Cut one side of 

The Pyramid 

from sandpaper (Fig. 292); if the paper is not stiff enough, 
paste it on a piece of cardboard; an old box-lid will do. Make 




3 



a 
a. 

!>> 
W 



o 



The Pyramids of Egypt 



221 



two more sides like the first and gum narrow strips of muslin 
along the right side edge of each (Fig. 293). The dotted line 




Fig. 292. — Cut one side of the pyramid of sandpaper. 

shows the edge of the pasteboard underneath the cloth. Join 
all the parts together by means of these strips (Fig. 294). When 




Fig. 293. — Gum narrow strips of muslin along the right side edge. 

making the fourth side, extend it out into the projection (T, Fig. 
294) and cut a corresponding slit in the first side (U, Fig. 294). 
Place the pyramid down flat on a level surface under a weight 



222 



Seven JVonders of the World 



to dry. When ready remove it and cut off the ends of the strips 
(S, V, O, Fig. 294); then bend the toy into shape by bringing 
the first and fourth sections together and sliding T into U (Fig. 




Fig. 294. — Join all the parts together. 

294). The pyramid must stand erect and firm as in Fig. 295. 
Remember that the four sides of the real pyramid are built 
upon 

A Perfect Square, 

and the base lines of yours should also form a true square. If 
you can get some tough paper which will fold together in a flat 
crease without breaking, you may make the pyramid of one piece 
instead of four, by cutting it the shape of Fig. 296 and bending 



The Pyramids of Egypt 



223 



it evenly along the dotted lines to form the four slanting sides. 
The loose ends must be fastened together by means of extension 
and slit. If you have no regular sandpaper make some. Give 
the paper a thin wash of glue, and before it dries sprinkle it 
evenly with sand. An old kitchen pepper-box filled with sand 




Fig. 296. — You may make the pyramid in one piece. 

will make a fine sprinkler. If you cannot get the pepper-box, 
take a small empty baking-powder can and punch tiny holes in 
the cover by hammering a fine wire nail through the tin in many 
places; use it as a sprinkler. You must prepare the paper and 
have it evenly sanded before cutting out the design. 

In Egypt there are three famous structures in addition to 
the Sphinx: the great pyramid, the middle-sized pyramid and 



224 Seven Wonders of the World 

the little pyramid — like the big bear, the middle-sized bear and 
the little wee bear in the story book. Each 

Pile of Stones 

was set up by a different king, and each one is named for the 
monarch who built it. The largest is called for Cheops; the 
second is named Chephren (pronounced Kefren) and the smallest 
has the longest name Mycerinus (pronounced Me-ker-in-us). 
Make the colossal Cheops as large as the dimensions of your paper 
will admit. The original is like a mountain, measuring 746 feet 
each side of the square foundation and reaching up 450 feet and 
nine inches in height. 

King Chephren did not build his stones quite as high; he 
was satisfied with a base, each side of which is 690 feet and nine 
inches and a height of 447 feet and six inches. The last, King 
Mycerinus, must have grown tired of playing with the stone 
blocks, for his pyramid is merely a hill 203 feet high, with each 
side of the foundation 354 feet and six inches, not nearly so tall 
as Cheops's monument. Build your little pyramid about half 
as high as the second one. 

After making the Egyptian structures, naturally you might 
think that they could be grouped as you pleased to place them, 
but these pyramids are 

Different from Ordinary Toys 

and must always be fixed in certain positions. Stand them in a 
diagonal row, each one facing exactly E. W. N. S. Fig. 297 
gives their correct positions. The first must stand to the north- 
east of the second, the second to the northeast of the third, and 
the Sphinx east of the second monument. 



The Pyramids of Egypt 



225 





Fig. 297. — Stand the pyramids in a diagonal row. 

There, they are finished. Now that we have built the pyra- 
mids, let us 

Carve the Wonderful Sphinx 

with its body like a crouching lion and its head, like a man's, 
modelled from that of an ancient Egyptian. The original is an 
enormous queer creature hewn from stone and made before the 
pyramids were built ; consequently, it is very old. It was on the 



226 



Seven Wonders of the IVorld 




plains more than 4,000 years before the 
birth of Christ. Little wonder that it now 
appears worn and chipped and that, like 
your small sister's doll its nose is broken 
off. 

Begin carving the Sphinx by cutting 
a larger size from Fig. 298 of stiff sand- 
paper. Mark the head with ink as nearly 
as possible like Fig. 299. Should you fail 
in this, find a print of the head in some old 
paper or magazine, cut it out and paste it on 
Fig. 298. Bend the design across the dotted 
line, and the Sphinx will be ready to 
crouch close down on your sandy plain. 

Fig. 298.— Cut the Sphinx out There is no need of carving the body, be- 
like this. cause that of the real Sphinx is entirely 

covered with sand, with only the head above ground, and we want 

ours to look like the original. 

In parts of Egypt the wind sweeps the sand in great masses 

against and over all 

objects, so the people 

had their 

Buildings Made with 
Slanting Sides 

that the sand might 
slip off when it struck 
them. Try pouring 
some sand on your 
pyramids and you 

will Understand the Fig. 299 —The bead of the Sphinx should look like this. 




The Pyramids of Egypt 



227 




Fig. 300. — Cut this from green paper. 



reason of the peculiar style of architecture. The land in Egypt on 
which the Sphinx and pyramids stand is the plain of Gizeh ; con- 
sequently, you must give that 
name to the place where you set 
up your structures. The 

Tall Date Palm 

is a beautiful tree. The leaves 
are glossy and spread out in a 
graceful crown; its stem is 
marked with old leaf scars, giv- 
ing it a very different appearance 
from the bark of our native trees. 

Cut Fig. 300 from light-weight 
green paper, and mark it as Fig. 
301; then cut Fig. 302 of very 
stiff pasteboard. Paste Fig. 300 
on the top over the letter P ; next 
bend the stem 
where it joins the 
base (Fig. 302) and 
plant the tree al- 
most any place on 
your plain of Gi- 
zeh. 

Several date 
palms, either 
grouped or scat- 
tered, would look 

Well and tend to Fig. 302.— Bend the 
,. y1 ., stem where it 

relieve the severity joins ^ baS e. 




ft 




Fig. 301. — The tall date palm 



228 



Seven Wonders of the World 



of the landscape. A thin layer of sand sprinkled over the plain, 
the stand of the Sphinx and the paper roots or stands of the trees 




Fig- 303- — Enlarge this camel. 



Fig. 304. — Make the saddle of writing 
paper. 



will give the place a realistic appearance, and the scene will then 
be ready for the camels and Arabs. You may own 

As Many Camels as You Desire; 
all you have to do is to use the old Egyptian method of squares, 
as explained in Chapter XIV, and it will enlarge the camel in 



The Pyramids of Egypt 229 

Fig. 303 ; then cut out the figure, lay it down flat on cardboard 
and run a lead pencil around its edge. Cut out this second animal 



Fig. 306. — Cut out the Arab like this. 



and repeat the outline as often as you want camels. You will 
then have fine camels which will stand firm on four feet and be 
strong enough to carry burdens. 



230 



Seven Wonders of the World 



Make the Saddle 

of writing paper (Fig. 304). Paint or mark it as in Fig. 308, 
fold it like Fig. 305 and fit it on the camel's back. 




Fig. 307. — Fold together at back in this way. 



Cut out the Arab (Fig. 306), being sure to make the short slit 
in the back of the drapery so that the man will sit well on the 



The Pyramids of Egyfii 



231 



saddle. Along the dotted lines place a strip of paste and fold the 
figure at the back, pasting the two sides together at the centre 




Fig. 308. — Arab on the camel. 



(Fig. 307). When dry mark as in Fig. 308 and mount him on 
the animal. As a harness tie a string on the camel's head, orna- 



232 



Seven Wonders of the World 



ment it with tiny tassels (Fig. 309) and 
give the end of the string to the Arab, 
threading the string through the hole 
in his right hand (Fig. 308). 

The trees, animals and men must 
be placed some distance in front of 
the pyramids, that the latter may seem 
to be a long way off; otherwise, all 
your objects will be out of proportion, 
because when a live camel stands close 
up to the Grand Pyramid it looks very 
small. Have several 

Camels with Men Riding 

them, some free from harness and 
rider, others held with the halter by 
Bedouins seated on paper rocks, which 

you can make by bending a piece of cardboard the right 

height. 

All the objects given can be enlarged to any desired size by 

the system of squares shown in Chapter 14, and the entire 

Egyptian scene may be taken up, each piece folded flat and 

placed in a large envelope when not in use. 




Fig. 309. — Fasten a harness on 
the camel's head. 




CHAPTER XX 

THE COLOSSUS OF RHODES 

RETEND this is not the twentieth 
century, but 288 B.C., and that, 
with many other young people, your 
home is hundreds of miles away on 
a little island in the Mediter- 
ranean Sea called Rhodes. Here 
the weather is sunshiny and 
bright, and children do not have to 
remain indoors because of the rain, 
for on this delightful island the sun 
comes forth in all its glory nearly 
every day during the year. The people think so much of the sun 
that they erect statues to it, which they call "sun gods"; they even 
have the head of a sun god on one side of their coins, and on the 
other side they print a rose, for the citizens of Rhodes are almost 
as fond of that flower as they are of the sun. Such quantities of 
roses grow on the island that all girls can have as many as they 
wish. 

Now, we will play that 

Your Name is Chares 

of Lindus, that you are a great sculptor and can model all sorts 
of wonderful and beautiful objects, and that the city of Rhodes 
has commissioned you to make a gigantic bronze statue of Apollo, 

233 



234 



Seven IVonders of the JVorld 



their sun god. So you must pretend that you have built two 
small islands at the entrance to the port of Rhodes, and that on 
each island you have erected immense stone pedestals fifty feet 
high, so that your Colossus need not be obliged to stand in the 
water. The statue must be made to span the harbor with "legs 
wide apart," as Napoleon stands in the pictures of history. 

Apollo must be very large, about one hundred and eleven 
feet high, in order that every ship entering the harbor may pass 
between the legs of this 

Towering Colossus 

as a tribute to the god; and when sailors approach the statue 
and pass beneath it they will marvel at the beautiful figure of 

polished metal and carry news of it 
all over the world. 

Make the Colossus of bronze filled 
in with stone. Use stiff fine lawn or 
fine batiste as the outer bronze cover- 
ing of the statue; let the cloth be per- 
fectly smooth, without a wrinkle. 
Take raw cotton batting for the stone 
filling. Enlarge very carefully on stiff, 
smooth paper the pattern (Fig. 310); 
make it measure nine and one-fourth 
inches from the tip-top line to the 
bottom line; then cut it out and lay 
the paper pattern . down flat over a 
double fold of the cloth. With a soft 
lead pencil run a line on the cloth 
entirely around the figure; be par- 




Fig. 310. — Enlarge this pattern very 
carefully. 



ticular about having all the curves of 




Fig. 313. — Your Colossus of Rhodes will look like this. 
235 



236 



Seven Wonders of the World 



the figure correct. Baste the two layers of cloth together and 

machine-stitch them around the outside edge of the pencil 

outline. 

Do not Sew the Lines Straight 

where they should curve; remember this and devote the best of 

your talents to the work. 

Leave a half-inch opening at the shoulder of the upraised 

arm A (Fig. 311). Pull off a bit of the soft, raw cotton and force 

it in at the opening A (Fig. 311) 
between the front and back of 
the figure. With a smooth, 
slender, dull-pointed stick push 
the cotton well up into one of 
the points surrounding the head, 
which represent the rays of the 
sun. When you have the cotton 
in the tip of the point, pack in 
another piece and continue to 
stuff the point with cotton until 
it is filled out firmly. Stuff all 
the points and the head in the 
same way; then fill the opposite 
shoulder and upper part of the 
arm which is held down at the 
side, and next the uplifted hand 

Fig. 3".— This is the way to build the and arm, and the body. 

Colossus. 

Begin at the Sole 

of the left foot and stuff the lower half of the partially filled hang- 
ing arm, then the lower part of the body and the edtire length 
of the leg, and fill in the other leg. Before stuffing the feet take 




The Colossus of Rhodes 237 

two strong, stiff hat-pins and break off the heads. If you bend 
the ends in removing the heads, hammer them out straight again; 
the pins must be perfectly straight. Very carefully work a pin, 
broken end first, up each leg well into the body. The dotted 
lines along the legs in Fig. 311 represent the pins placed inside; 
the points of the pins extend not less than an inch and a half 
below the feet B, B (Fig. 311). C, C (Fig. 311) shows the raw 
cotton, which has not yet been packed into the feet. Lift the 
figure by the two pin points, and if it is firm and stiff finish stuffing 
the feet; if it bends when held by the pin points, carefully twist 
out the pins and insert them again, adjusting them until they 
keep the figure stiffly upright when held by the points. 
Sew up all the openings and 

Cut Out the Statue, 

then slowly punch open the centre of the divisions between the 
rays around the head and the uplifted arm, with the point of 
a blade of the scissors. Enlarge each hole by twisting the pointed 
end of a penholder around and around until the opening is suffi- 
ciently large. Turn the Colossus over on the other side and 
carefully cut away the fringe of cloth that surrounds each open- 
ing. In like manner open the space between the body and the 
arm extending down the side. 

When stuffing the figure, use the cotton soft; do not roll it 
into hard wads, and be careful not to run the end of the stick 
through the cloth covering and tear it; the same care must be 
taken when inserting the pins up the legs. With thread and 
needle stitch an outline between the fingers and around the 
lower portion of the raised hand. Filling in the figure with cotton 
will give you an idea of the labor your great-grandmothers ex- 
pended upon their bedquilts when they stuffed elaborate designs 



238 



Seven Wonders of the World 



of grapes and vines on the coverings, 
valued. Give Apollo an 



Such quilts are now highly 



All-over Coat of Varnish 

When the statue is perfectly dry bronze it with liquid bronze, and 
if the small openings by the side of the arms seem partially to 
have closed, twist the end of the pen handle 
through each one to enlarge the spaces. 

Cut a strip of cloth according co Fig. 312 for 
drapery. Hold one end against the figure at 
the side where the arm joins the body and fold 
the cloth loosely across the front and around the 
back of the figure, bringing the other end of 
the drapery forward through the space between 
the arm and the body. Fasten it in place with 
a pin (Fig. 313). Bronze the scarf so that no 
portion of unbronzed cloth is visible ; then allow 
the statue to dry, and with sharp scissors trim off 
any little ravellings along the edges of the stitch- 
ing. With pen and ink 



Fig. 312. — Cut a strip 
of cloth for drap- 
ery. 



Mark the Features 



on the face. The chin being held up foreshortens the face; this 
means that the position causes the features to look as if they 
were closer together than they actually are, and that the eye- 
brows are nearer the top of the head, which makes all the features 
seem higher than when the chin is held level. Do not forget 
this while inking the face. Draw rather high on the forehead 
two curved lines for the eyebrows ; under these mark two curved 
oblongs for the eyes, a curve for the nose, with two elongated 
dots for nostrils, a larger curve for the mouth and a little one 



Making the Colossus of Rhodes 



239 



240 



Seven JVonders of the IVorld 



for the lower lip. Practise drawing the face on a piece of paper 
before attempting to ink it on the bronze head. 

Find or make two boxes of heavy cardboard each about two 
and a half inches high, an inch and a half wide, and two and a 
half inches deep. Open the boxes and give the outside a thin 
coating of glue. While the glue is wet sprinkle with sand, and, 
when dry, replace the covers and the boxes will be two stone 
pedestals for the statue. 



Erect Apollo 

upon the stone foundation by pushing the projecting pin points 

through the tops of the boxes; work a cork on the end of each 

pin point, having the cork large enough to rest 

firmly on the bottom of the box after it is attached 

to the pin point; then, holding each cork in 

place, fasten them in turn to the bottom of the 

box by pushing a common pin up through the 

bottom of the box into the cork. Fig. 314 shows 

the inside of the sanded box with the point of 

the hat-pin firmly planted in the 

top of the cork, while the cork is 

held securely to the bottom of the 

box by means of the pin run into 

it from the outside of the box. 

Apollo must stand firm; the statue 

and foundation boxes should be so 

securely fastened together as to 

seem made in one piece. 

There, the famous Colossus of 
Rhodes, one of the renowned Seven 

Fig. 314. — Fasten the statue's feet to 
Wonders Of the World, is COm- the boxes in this way. 







The Colossus of Rhodes 241 

pleted, and now that you have made the statue you can never 
forget it. Pretend that Apollo towers in the air at least one 
hundred and fifty feet when on the pedestals. Of course, such 
a remarkable piece of sculpture could not be constructed in a 
moment's time, so make-believe that you, the sculptor, Chares, 
of Lindus, have been twelve years at work on the wonderful 
bronze figure. Get a sheet of blue tissue paper to serve as the 
water, stand Apollo on it, and make two or three 

Tiny Paper Boats with Masts; 

set them on the water under the bronze statue that the vessels 
may be sailing beneath the statue into the harbor of Rhodes 

(Fig- V-Z)' 

When you have erected the Colossus on a table and every- 
thing is ready, invite the girls and boys in to see the work; tell 
them all about the statue's being one of the "Seven Wonders of 
the World" and what fun you had making Apollo, and that 
you intend to make another of the "Wonders," which you will 
show to them. 

Play that the Colossus has stood guard over the harbor of 
Rhodes for fifty-six years; then make an earthquake 

Tumble it Down 

Double up your hand and give a hard knock on the under side 
of the top of the table, exactly beneath the spot on which Apollo 
stands. With a little aid of the imagination the noise produced 
will sound like the rumbling of an earthquake, and the shock will 
cause the earth, or the top of the table, to tremble and quake 
violently, and down will fall the Colossus. 
Make believe that 



242 Seven Wonders of the World 

The Statue is Broken 

in many pieces and that the people of Rhodes allow the fragments 
to lie scattered on the ground, for you know that after the real 
Colossus had been thrown down, it remained where it had fallen 
for many centuries, until the year 656 A.D., when Rhodes was 
conquered by the Saracens, who sold many of the pieces of the 
bronze sun god to a Jew of Syria Edessa. This man had nine 
hundred camels carry the fragments on their backs to Alexandria. 
Nearly three centuries after the disaster, Pliny saw the pieces 
of the Colossus still lying where it fell: "And even as it lies there 
prostrate," he reports, "it stirs to wonder. Few men can clasp 
its thumb with their arms; the fingers alone are greater than 
most statues; vast caverns yawn in its shattered limbs; within 
one sees blocks of stone by whose weight the builder established 

it." 

The Colossus 

cost about $500,000, which was obtained from the sale of the 
engines of war presented to the Rhodians by a man named De- 
metrios Poliorketes, after they had made him give up the siege 
of their city, 303 B.C. 

There were several thousand statues in Rhodes but none 
so large as the Colossus, which is said to have weighed 720,900 
pounds. The famous Laocoon and the Farnese Bull were both 
modelled in Rhodes. In Roman time Rhodes was thought the 
fairest city in the world and is described by historians as superior 
to all other cities of its era, for the beauty and convenience of 
its ports, streets, walls and public edifices, all of which were pro- 
fusely adorned with works of art. Among the students in its 
university were Brutus, Cassius, Caesar and Cicero, and the first 
Greek grammar, the one which became the model of Greek and 



The Colossus of Rhodes 243 

Latin grammars, was written in this city, so you find that Rhodes 
has played a very important part in the world. But the island of 
Rhodes is no more a powerful state; it is now a possession of 
Turkey, and is ruled by a pasha, who holds office for fife, govern- 
ing also the adjoining islands belonging to Turkey, and collects 
the revenues. We will have interesting news from time to time 
from this same island, for one of the newspapers has stated that 
a Danish scientific expedition will go to discover all that remains 
of the Colossus of Rhodes. You must be on the lookout, there- 
fore, to know how much they find of the statue and how the 
pieces look; then you will wish to compare your Colossus of 
Rhodes with the facts stated and any pictures which may be pub- 
lished on the subject to see how closely your Apollo resembles the 
original "Wonder" of the world. 




Cardboard Pharos of Alexandria 

244 



CHAPTER XXI 




THE PHAROS OF ALEXANDRIA AND THE MAUSOLEUM 
OF HALICARNASSUS 

LAY that you are Sostratus of Cnidus, a great 
architect, and that you live in the city of 
Alexandria, on the coast of Egypt. Here 
there is a King called Ptolemy, who desires 
you to erect a building different from any 
ever known; he wants something grand, 
original and unique, an immense structure 
adapted to an entirely new purpose. You must make it of white 
stone and do your very best, for you are to have the honor of 
building the "Pharos of Alexandria," 

The First Lighthouse Ever Known 

Think what that means: When it is finished the people from 
other countries will see your Pharos and wonder why it never 
occurred to them to build a lighthouse, and they will hurry to erect 
similar structures on their coasts, that sailors on all the seas may 
have guides in times of danger and not be dependent upon bon- 
fires burning at the entrances of harbors. These chance watch- 
fires are now the only kind of lighthouses the people have, so get 
ready your material and make preparations for building, that 
you may help the poor sailors. Remember, though, that we are 

245 



246 



Seven Wonders of the World 



living in the third century B.C., and that we are not in the United 
States but on the island of Pharos. 

Select the eastern extremity of the island for 

Your Building Lot 

It happens that your lighthouse will be on an island in the iden- 
tical Mediterranean Sea in which the Colossus was reared, only 



^ apig 

saipu| S 
! i* inches ; 4/ 2 Inches 







4'/s Inches -c 



5 Inches 
Side 




Fig. 313. — Foundation of Pharos of Alexandria. 

not on the same side of the water. The island of Pharos has a 
neck of land, built by men, which stretches through the water 
to the city of Alexandria, making it easy to go back and forth 
for building material. You must have plenty of ground space 
for your new style of beacon-light, because the foundation is to 
be very large, about six hundred feet square, and the building 




Building the Pharos of Alexandria 



247 



248 



Seven Wojiders of the World 



will be many stories, growing smaller and smaller in size as the 
stories extend upward. The lighthouse must be five hundred 
feet high, that the light may be seen miles out at sea. 
Stiff, white paper will answer for the stone. 



Cut the Foundation 

piece like Fig. 315 with a square centre measuring five inches 
along the dotted fines on each of the four edges. Near two of 
the edges are long slits (A A). Extending out from the centre 















- 




- 


= 

V> 








Vk 

in. 




life 
in. 




IK 

in. 




8 Inches 





Fig. 316. — Begin 
with a piece of 
paper like this. 



Fig. 317. — Run a 
line across one 
side. 



Fig. 318 —Make 
another line on 
the opposite 
side. 



square are the four sides of the square, each an inch and a half in 
depth. On one end of each side there is a flap, C, at the oppo- 
site end a slit, B, and two of the sides have an extra extension, or 
bottom flap, D. Cut all of the heavy fines and carefully crease 
the dotted lines. The best way to make Fig. 315 is to cut a piece 
of paper eight inches wide and eleven inches long (Fig. 316). 
Run a fine lengthwise across one inch and a half from the outer 
edge (Fig. 317); repeat the same on the opposite edge (Fig. 318); 
then mark a line across each of the ends three inches from the 
edge (Fig. 319). Make another fine midway between this fine and 
the edge at each end, which will bring the division one inch and 
a half from the edge E, E (Fig. 320). Crease all the lines, bend- 



The Pharos of Alexandria 



249 



ing them inward. Open out the paper after each folding, and 
when all lines have been creased and opened you will find it very 
easy to mark and cut the sides and flaps of Fig. 315. 
Cut three more papers for 



The Next Three Stories; 

divide them with lines like Figs. 316, 317, 318, 319, 320, and cut 
them like Figs. 322, 323, 324. The centres of these must each be 









3 

Inches 




3 

Inches 









Fig. 319. — A line across 
each end. 













m 

in. 


IK 

in. 

E 




IK 

in. 

E 


IK 

in. 













A 


" ! i 
1 i 

i i 


«**^s^_^ 


Ci 


Front 


y 



Fig. 320. — Another line 
will divide the space at 
each end. 



Fig. 321. — First story of Pharos of Alexandria. 



smaller than the last, measuring respectively four, three and two 
inches square, but the depth of the sides remains the same. 
The size of your second- story paper will be ten by seven inches, 
the third, nine by six inches, and the fourth, having the bottom 
flaps, measure one instead of one and a half inches, as do the 



250 



Seven Wonders of the World 



others, requires paper seven by five inches. Figs. 321, 322, 323, 
324 are given to show the relative sizes of the four stories when 

the paper is cut and 
laid out fiat; the dia- 
grams are also intended 
to explain the cutting 
of the slits on the cen- 
tre squares. Notice 
that in the first story 
(Fig. 321), as in the 
additional three stories, 
neither of the ends of 
the left-hand slit reach- 
es to the edge of the 
square, while the right-hand slit (H H, Fig. 321) touches at one 
edge. In the second story (Fig. 322) the right-hand slit not only 

runs to the edge of the square, but 
there turns at right angles and ex- 
tends through the edge of the paper 
(G G). The right-hand slit of the 
third story (Fig. 323) differs from the 




Fig. 322. — Second story of Pharos of Alexandria. 





Fig. 323- — Third story of Pharos of 
Alexandria. 



Fig. 324. — Fourth story of Pharos of 
Alexandria. 



The Pharos of Alexandria 



251 



other two; it runs within a short distance of the edge of the 
square, where it turns at right angles, making a straight line 
to the adjoining side of the square, there turning again at a 
sharp angle; the slit reaches entirely through the edge of the 
paper H, H (Fig. 323). In the fourth story (Fig. 324) the slits 
are cut like those in the tpuu 

first story I, I (Fig. 324), 
being the long slit. Fig. 
325 gives the diagram for 
the fifth story, which is 
the top one. 

This Room 

has large openings in the 

four sides to allow the 

beacon-light to shine out 

into the dark night. The 

centre of the diagram (Fig. 

325) is one inch square; two of the sides have slits cut near each 

side edge of the windows; on the other sides of the squares are 

extending flaps. Cut all the heavy fines, and bend inward and 
crease all the dotted lines, then put the top 
story together in proper form by sliding the 
four side edge flaps through the slits, which 
will bring the edges of the sides together, form- 
ing the four corners of the room. Bend back 
and crease down the portion of the flaps which 
extend inside of the room; do this to make the 
fastenings secure. Use strips of bright-red 

and orange-colored tissue paper cut into fringe on one edge and 

twisted together into a bunch, as in Fig. 326, for the 




llnch 

Fig. 325. — Fifth story of Pharos of Alexandria. 




Fig. 326.— The pitch- 
wood fire. 



252 



Seven Wonders of the World 



Pitch-Wood Fire 

which is to gleam out upon the treacherous approaches to the 

harbor. 

Having fuel for the make-believe fire, and white stone, or 

paper, cut ready for building, your lighthouse may be erected 
in a few moments. Pierce a small hole in 
the exact centre of Fig. 324 C, and bend 
down the sides, allowing the side flap of 
each to extend around the corner and on 
the outside of the adjoining side. Slip the 
end of each flap through the slit which it 
covers, shown by B, Fig. 315, and bend 
back the end that comes through on the 
inside; fit the end of the fire (Fig. 326) 
tightly into the hole C on the top of Fig. 
•324 and the work will resemble Fig. 327. 

Fig. 327.— Fourth story with ° ^ _ o u / 

pitch-wood fire ready for Through the two slits on each side of the 
fire slide the two bottom flaps of the fifth 
or top story; flatten the ends of the flaps up tight to the under 
side of the top of the fourth story. Be sure to keep the front 
side of each succeeding story directly under the front side of the 
one over it, that the steps may fit in place. Fasten each lower 
story to the one above in the same way that you attached the 
fourth to the fifth. 

When the Pharos is finished make the three flights of 

White Marble Steps 

leading to the top of the lighthouse. Cut the top flight (Fig. 328) 
of stiff white paper. Let it measure one-half inch in width and 
four and one-half inches in length, including the top landing. 




The Pharos of Alexandria 253 

The side extension K of the landing should be three-quarters 
of an inch long. Fold the flat, straight strip of paper back and 
forth many times, in fan fashion and crease firmly to form steps 
(Fig. 329). Slip the extension K into the slit I on the right-hand 
side of the top of the fourth story, and slide the bottom of the 
stairs into the slit H on the left-hand edge of the third story. 
Make the next flight of steps like the top ones, only longer — five 



4/2 Inches 



Fig. 329- — Top flight with steps creased 



Fig. 328. — Top flight of marble steps. ready to attach to lighthouse 

and one-half inches in length before being creased. Place the 
end of the platform extension over the bottom of the top flight; 
run it through the slit H which turns at right angles from the 
edge and fasten the bottom of the steps in the right-hand slit 
edge (G) of the second story. Attach the third flight of marble 
steps diagonally across the second story in the same manner. 
The paper strip for these last should measure when flat seven 
inches in length. 

The real Sostratus of Cnidus had a 

Natural Island 

on which to erect his lighthouse, but you may have the fun of 
making one for your Pharos. Find a box a little larger than 
the lighthouse and cover it loosely with any kind of stiff cloth; 
have the cloth smooth and tight only over the space on which 
the Pharos is to stand. On all the other portions of the box the 
covering should be irregularly placed, so that it will jut out in 



254 Seven Wonders of the World 

places; fold in others and have as much the appearance of an 
immense rough rock as possible. If the box is of pasteboard, 
sew the cover on with a stitch here and there; if of wood, tack 
the cover on. When ready glue or 

Tack the Island 

on a foundation of wood or one of heavy pasteboard covered 

with sea-blue cloth or paper to represent the waters of the Medi- 
terranean Sea; give the island a very light coat of 
varnish or glue, except the central space reserved 
for the lighthouse. Be careful not to allow the 
glue to dampen the cloth sufficiently to make it limp. 
While the glue is moist, sprinkle generously with 
sand. When dry, glue on the Pharos. Turn in- 
ward the down-hanging bottom flaps and glue them 
down securely to the stone. Draw the statue (Fig. 
330) on white paper and cut it out. Then cut a slip 
up through the centre of its stand, bend the stand 
at the dotted line, one half of it forward, the other 
half backward, and paste the statue upright on top 

of the building. 

If you would like to do just as the real architect Sostratus 

did, write your name in this way: 

SOSTRATUS OF CNIDUS TO THE RESCUING 
GODS, FOR THE BENEFIT OF SAILORS 

on one side of the first story of the Pharos; then paint over it 
with white paint so that the name cannot be seen. After the 
paint has dried, write over the white paint, "King Ptolemy." 
Sostratus of old carved his name deep on the stone wall of the 




The Pharos of Alexandria 255 

building, then plastered over it and set the King's name in the 
plaster. Instead of the plaster you have used paint. 

Now place the Pharos in the bright sunlight; let it stand be- 
tween you and the light, with the corners of one of the front edges 
toward you, and see how well it appears, and how closely the 
colored tissue resembles real fire burning and shining brightly 
from the top openings. Make tiny paper boats, not over an 
inch in length, with wee paper sails, and scatter them on the 
make-believe water. The contrast in size of the Pharos and 
boats will give a faint idea of the huge proportions of the light- 
house. Call in 

Your Friends 
and let them enjoy the lighthouse with you ; tell them they must 
pretend that the structure is gigantic in size, that the laborers 
were paid only twenty cents a day, and even with such low wages, 
the Pharos cost over a million dollars. Explain to them how all 
lighthouses of the Roman world were named Pharos, after your 
building, because yours was the first and marks an epoch in the 
world's history. Say to the boys and girls that this white build- 
ing you are showing them is one of the Seven Wonders of the 
World, and beside being very beautiful, it is one of the most useful 
of all the "Seven Wonders." You must make believe that your 
Pharos was completed in the year 282 B.C., and remained stand- 
ing sixteen centuries. 

The Mausoleum of Halicarnassus. 

Turn a square or nearly square pasteboard box upside down. 
On the centre of the top glue a pasteboard cella made like the one 
in the Temple of Diana, Chapter XXIII. Surround the cella 
with paper pillars made in the same manner as those in Chapter 
XXIII, and glue them along the four edges of the box, Cover 




Fig. 331. — The Mausoleum of Halicarnassus. 



256 



The Mausoleum of Halicarnassus 257 

all with a pasteboard ceiling glued on; then make a pyramid of 
white pasteboard, similar to the Egyptian pyramid, but let this 
one have a flat top. Fasten the pyramid on top of the ceiling 
and paste four paper horses with chariot and driver on a small 
box on top of the pyramid. Glue the structure on a board and 
make two small boxes for each ground corner. Fasten these in 
place and paste a paper horse with rider on top of each box, then 
your Mausoleum will be finished (Fig. 331). The building should 
be white. The original was a monument in memory of Mausolos, 
and was built by his wife Artemisia. It stood in the city of Caria 
on the southwestern tip of Asia Minor, in the year 353 B.C. 




Fig. 345-— Your Little Statue of Zeus 



2tf 



CHAPTER XXII 




THE STATUE OF ZEUS AT OLYMPIA 



MAGINE that you see before you a majestic white 
statue of gigantic size, made of ivory, seated upon 
an immense throne of ebony, ivory, gold and 
precious stones, and wearing upon his golden hair 
a crown of enamelled green olive leaves. Over 
one shoulder is thrown a mantle of glittering 
gold, embroidered in white lilies, which falls 
down over his ivory body across the knees. 
In one hand he holds the winged figure of 
Victory, in the other a long, slender sceptre crowned with an 
eagle, and on his feet are rich golden san- 
dals. There: Was not that worth seeing? 
You have been looking at Zeus of Olympia, 
the most beautiful and wonderful statue 
ever made by Phidias, who lived ages ago 
and modelled Zeus about the year 439 B.C. 
You can make a little statue of Zeus, 
but you must pretend that 

You Are the Sculptor Phidias 

and that you are actually modelling the 
real giant statue. Make believe that hun- 
dreds of elephant tusks have been sent to 

r j . , , . , , , Fig. 332. — Make Zeus of a 

you irom distant regions to supply enough doll . 

259 




260 



Seven Wonders of the IVorld 



ivory for the work, and that you have an abundance of gold, 
precious stones and ebony. Make Zeus of a doll (Fig. 332) five 
and one-half or six inches in length. Pry off its wig, then give 





Fig- 333- — Gild hair, 
beard and mustache. 



Fig. 334- — Gild hair at 
the back. 



Fig. 335- — Gold 
sandals on the 
feet of Zeus. 



Fig. 336. — Fold the 
paper for cutting 
crown of olive 
leaves. 



the doll a coat of varnish. Should the arms be flat, round them 
out with a layer of raw cotton glued on and paint the doll white 
all over. You must make the entire doll absolutely white. 



Gild Hair, Beard and Mustache 

on the head (Figs. t>33 an d 334) . Gild the 
sandals (Fig. 335). Make a crown of green 
tissue paper olive leaves. Fold and cut 
like Figs. 336 and 337, and fasten together 



Fig. 337. — The crown of olive leaves. 

on the back of the head with glue. Bend 
and bind Fig. 338 into a sitting position 
with feet crossed; keep the statue so until 
you glue it on the throne. Cut the 




Fig. 338. — Zeus is ready 
for his robe. 




S3 



Top of Arm 
Arm 



Back 



Side 

- 1 J 



v. 



P 
T 



._ Jt & 



Seat 



_jm y. 



Front 



o. u;|| 



2*L. 
_o 



ii.. 



BTopofArm ! (J 

—" jl 

E Arm j 

A 



5lDE 



L 



J 



.JE 



tf 



r^ 



Fig. 339. — Make the throne like this. 



261 



The Statue of Zeus at Olymftia 



263 



Throne of White Cardboard 

Fig. (339); the back, seat and front from top of centre ornament 

to extreme edge of front are six and three-quarter inches. The 

seat is one and one-quarter inch wide and two and three-quarter 

inches long. The arms are one inch high and the top of arm 

half an inch wide; the length of arm is an inch and a quarter. 

The front is one inch 

wide, the feet G and F, 

on each side are half an 

inch long not including 

the flaps. Length of back 

of throne is four and 

one-half inches. Each 

side is an inch and 

one-quarter wide; their 

greatest length, counting 

the entire length of one 

of the feet, is an inch 

and a half. The width 

of back piece (Fig. 340), 

not including X and X, 

is two and three-quarter 

inches. The sides X and 

X are one and one-half inch in length, as they fit exactly the 

under side of the throne sides J and J. 

Lightly Score, 

then bend dotted lines and cut heavy lines. Bend inward the 
side part A (Fig. 339) including D and L; then bend forward 
the top part B ; slide C through D from outside and bend inward 




Fig. 340. — An extra back-piece for the throne. 



264 Seven Wonders of the World 

the box-like arm at E. Bend the other arm likewise. Bend 
backward the sides extending along the dotted lines F F and 
G G, then the front along dotted line H; at the same time slide 
I and I against the inner sides of the throne J and J. Bend for- 
ward the back of the throne at K. Bring forward the arms and 
run L and L through M and M, then pass L and L forward 
through N and N, and slide them back through O and O. Bring 
the extension P, including T and Q, across the front; run the 
tongue Q through R. Bend the left side, passing S through T 
and U, which fits directly under T; S must go through the two 
slits to the under side of the chair. 

Use the Blade of a Penknife 

in sliding tongues and flaps through slits and use it to straighten 
out the points of tongues after they are through the slits. Bend 
down and backward W and W (Fig. 340); then bend back X 
and X and fasten Fig. 340 to the throne by sliding V through Y 
on back of throne. Rest the seat of throne over W and W and 
the sides j and J (Fig. 339) over X and X (Fig. 340). Attach 
the throne to the 

Upper Dais 

by lower flaps. Fig. 341 shows the upper dais. The four sides 
are each one inch high, its top is three and one-half inches on 
each of the sides; all four extensions are one inch and a quarter 
long, tongues not counted, and the four slits are each an inch 
and one- quarter from the edges of the sides. 

The two slits marked, one with a square, the other with a 
diamond, hold the flaps of the footstool (Fig. 342) marked with 
same designs. In the diagrams of footstool and dais the slits 
are marked with designs like the designs on flaps and tongues, 
which slide through them. 



The Statue of Zeus at Otymftia 



265 



Bring the two correct parts of the upper dais (Fig. 341) to- 
gether by matching them, as heart to heart, etc. Cut heavy 




Fig. 341. — The upper dais of the throne. 



lines, lightly score and bend dotted lines of the upper dais and 
put it in shape. Make the top of 

Footstool 

(Fig. 342) an inch and a half long and one inch wide; let the front, 
back and sides each be 
half an inch high, the 
back extensions one inch 



long, the two side flaps 

each one inch long, front y£T> 

extensions an inch and a NN — - 



Extension' 



^ HIap 



Sde 



N Extension; 



• j BackJ T -Extension ( 



Top of-Stool (Side 



Flap 



Front 



m> 



Fig. 342. — The footstool for the feet of Zeus. 



half long, not including 

tongues. Cut heavy lines, score lightly and bend dotted lines 

and slip tongues through slits. 



266 



Seven Wonders of the World 



Attach the Stool 

to upper dais by bottom side flaps; bend the flaps up flat against 
the under part of the dais. In the same way fasten the throne on 
the upper dais by sliding the four down-hanging extensions 
through the four remaining slits on top of the upper dais marked 



Extension 



X 



Back. 



Tor or ttpwtn Oau 
Dais 



ExitnVioh 



<B> 



Ft.** 



rup 



Fig. 343- — The lower dais. 



with the same designs. Bend and put together the lower dais 
(Fig. 343) and fasten the upper dais on it. Make the lower dais 
five inches square on top and one inch high. Glue the bottom 
flaps of lower dais down on stiff cardboard or thin wood, in size 
about eight by ten inches. 



The Statue of Zeus at Olympia 267 




Fig. 344. — The lion panel for the 
throne. 



Inlay the Throne with Ebony 

by painting a black band across the top, down each side of the 
back and down the front of the arms; keep the lines straight and 

neat. Gild the centre and two side 
ornaments on top of the throne. 

Trace the panel with the two lions 
(Fig. 344), gild the lions and gum the 
panel on the front of footstool; then 
unbend Zeus and place him on his throne, bringing him well to 
the front that his feet may rest on the footstool. Fasten the 
statue firmly in place with glue and pins. Pin one folded end of 
a strip of smoothly ironed starched cloth on the back of Zeus, 
bring the cloth up over the left shoulder down across the knees 
in folds like those in Fig. 345, the 
statue of Zeus, and with glue and pins 

Fasten the Drapery 
loosely here and there, then gild the 
entire strip of cloth. Make the 
sceptre of a headless hat-pin. Trace 
the gold eagle from Fig. 346; gild 
and cut it out, then taking a stitch 
through the eagle's body with the hat- 
pin, slide the eagle up to the top of 
the pin and glue it in place. Make 
Zeus grasp the eagle-crowned sceptre 
by binding his hand and sceptre tightly together with thread. 
Add a little glue to make sure they stick fast ; steady the sceptre 
by running its point down into the small needle hole that has 
been previously punctured in the dais, and paint the sceptre white. 
Trace and cut out the 




Fig. 346. — Cut out a gold eagle. 



268 



Seven IVonders of the IVorld 



Winged Figure of Victory 

(Fig. 347), glue it to the empty hand of Zeus and glue the hand 
tight on the top of the arm of the throne. Then, to give an 
idea of the immense size of the statue, place a one-inch doll in 
front of the throne, glue a bit of drapery on it, and let the doll 
represent a worshipper at the shrine of Zeus. Play that the 
ivory, gold and ebony throne is glittering with 
precious stones and golden pictures from the 
stories of the gods, and that the arms of the 
throne are supported by two sphinxes. 

The real statue was in the chief temple of 
Olympia in Greece, where the Olympic games 
were held every fourth year, and Zeus was so 
large, it was said, that 

Should He Rise from His Throne 

he would lift the roof off the building; also, 
that the statue was the supreme masterpiece 
of art. Everyone was anxious to see it. The 
people believed that should one stand before 
the figure and gaze upon it, he would immedi- 
ately forget all worry and care. Possibly this charm may be 
transmitted to your little Zeus. The next time you are worried, 
try it, and see if you do not find yourself smiling as you contem- 
plate the little statues. 

You might let your young friends come to see your Zeus for 
four successive days and play that each day is a century, because 
for four centuries the real Zeus attracted crowds of people, as it 
was held a calamity to die without having seen Zeus of Olympia. 




Fig- 347- — The winged 
figure of victory. 




CHAPTER XXIII 

THE TEMPLE OF DIANA AT EPHESUS 

'ANY white marble columns, twenty-eight in all, 
will be needed for Diana's Temple, but the 
columns are so easy to make, that you will think 
it fun and wish more were required. Use stiff 
white paper, pretending it is marble, and cut 
all the columns according to Fig. 348. Keep 
strictly to the given dimensions, being careful 
to cut each column exact and true and perfectly even. Slash 
up the bottom and roll the entire column on a long pencil to 
make it curve, then take it off and spread strong glue or paste 
along the marked edge and wrap the column around a smooth, 
straight stick two inches in circumference, lapping the unmarked 
lengthwise edge over the glue-covered edge of the column. Press 
the edges together until they cling tight, then remove the column ; 
bend out the slashed bottom and roll the two top extensions 
as in Fig. 349. Now 

Look at Your Column; 

see how gracefully the capital curves into a roll on each side, re- 
minding one of a blossom on the end of a stem. The column 
you have made is called Ionic, and when you examine the col- 
umns or pillars of buildings, you will easily recognize those with 
Ionic capitals. It was principally because of the beautiful rolled 
capitals crowning its columns that the temple of Diana was 

269 



270 



Seven IVonders of the JVorld 



known as one of the Wonders of the World, for it was the first 
structure that utilized this beautiful style of architecture. 

Find a piece of extra stiff white cardboard, nineteen by eleven 
inches, and on it draw 

The Ground Plan 

of your temple (Fig. 350). The distance from the outside edge 
of one ladder-like strip to the outside edge of the other is nine 



1 



S 



2 
* 



1111 1 11' 



%t% 



Fig. 348.— Cut all of 
the columns like 
this. 



w 







A 

* 
B 







Fig. 349-— The 
finished column 



Fig. 350. 



-Ground plan of Diana': 
temple. 



inches. The strips are each sixteen inches long, two inches 
wide and divided into six spaces. Make the spaces by folding 
a sixteen-inch strip of paper exactly crosswise through the centre, 
then folding each half of the paper three times. Place this strip 
along the edge of the sixteen-inch lines on the ground plan and 
mark the spaces. Draw the oblong for the cella on the centre 



The Temple of Diana at Efihesus 271 



e-9 



(Fig. 350). Make it four inches wide and ten and one-half 
inches long, leaving half an inch space between this oblong and 
^ the inner sides of the ladder-like 

strips. Take one column at a time 
and glue the slashed portion firmly 
on the ladder-like strip. Begin at 
A, Fig. 350, and 



3-e 



3-e 



9-e 



SH= 



e-e 



Erect the Outer Row of Columns, 

allowing each column to stand im- 
mediately along the inside of the 
outer line AB, Fig. 350, with its 
exact centre over the short cross- 
line, as in Fig. 351 (circles indicate 
columns). Each column must 
stand erect and plumb. Place the 
next row of columns just within the 
long inner line as in Fig. 352. In 
the same way erect the second 
double-columned row on the opposite side of the foundation 
and glue together the sides of the rolled capitals which touch at 
the top of each pair of pillars on both rows. 
For the oblong centre, 



Fig. 351- — Circle 
shows where to 
place first col- 
umn. 



e-e 

Fig. 352- — Posi- 
tion of first 
double row of 
columns. 



Make a Cella 

of a coverless white cardboard box minus the two ends (Fig. 353). 
Let the cella be four inches wide, ten and one-half inches long, 
and five and one-half inches high. "When making any article 
of cardboard, always lightly score every line intended to be bent ; 
this is very important to insure good work. Glue the cella or 
inner temple on the boundary lines marked for the purpose on 



272 



Seven IVonders of the World 




Fig. 353.— The cella. 

facing the walls of the cella. 



the centre of the foundation 
board, and glue the outside of 
the two walls firmly to the 
edges of the rolled capitals of 
the columns which touch them. 
Cut the dais of cardboard 
five by three inches, and bend 
it like Fig. 354; have it three- 
quarters of an inch high and 
glue it on the floor of the cella 
(Fig. 353) two inches from the 
back edge with its open sides 
Trace on cardboard and 



Cut Out the Goddess Diana 

(Fig. 355). Bend the extension beneath Diana's feet half for- 
ward and half backward, then glue Diana on top of the dais in 
the centre at the back. 

Build on the ceiling and roof of the temple. Make the ceiling 
of cardboard ten by sixteen inches, and cut the two gables, one 
for each end of the roof, like Fig. 356, two and three-quarter 
inches high and ten inches long, not counting the extensions on 
the three sides, which must be bent 
and glued to the ceiling and roof. 
When the gables are fastened se- 
curely on each end of the ceiling, 
cut the roof of white cardboard 
seventeen by twelve inches, bend 
it lengthwise through the centre 
and glue it on top of the ceiling by 

fastening the ends tight to the Up- Fig. 354.— Make a dais for Diana. 




The Temple of Diana at Efthestts 273 



right gables. Allow the roof 
to extend a trifle beyond and 
over the edges of the ceiling 
and also project half an inch 
over front and back of the 
temple. Fit the roof-covered 
ceiling over the top of the 
temple; see that everything 
is properly placed, then re- 
move the ceiling; drop a little 





Fig. 356.— The gable. 

glue on top of each roll of 
the capitals on all of the pil- 
lars, again adjust the roofed 
ceiling and hold it steady 
until it adheres firmly to the 
temple. 

Take a box eleven inches 
long, nine inches wide and 
three inches high; turn it 
bottom side up and glue 
your foundation with its 
stately temple securely on 
the box. 

Use white passe-partout strips to fasten the box down tight 
on a light-weight board, twenty-seven by sixteen inches. 



Fig. 355. — Statue of the Goddess Diana. 



274 Seven PVonders of the World 

Get medium light-weight, smooth white water-color paper, 
for making 

The Marble Steps 

oil each of the four sides of the temple. Each flight must be 
made in two pieces or sections. In all there will be eight sections. 
Cut paper for the right-hand section of front steps nine and one- 
half by six inches, the left-hand front section nine by six inches. 
Make the two sections for back steps the same. 

Cut the right-hand side steps in sections thirteen by six 
inches, and twelve and one-half by six inches. Make the other 
side sections the same. 

Now be very careful in your measurements. If your measure- 
ments are not exact your steps will not fit together. Divide each 
section of paper lengthwise from side to side into half-inch spaces 
by drawing twelve lines across, beginning half an inch from the 
top of the paper. This will make thirteen spaces (Fig. 357) 
which, when creased backward and forward, fan fashion, will 
form seven steps, counting top and bottom landings or treads. 
Take the longest section of the front steps and square off one 
end with lines half an inch apart and of varying lengths running 
down across the first line (Fig. 357). 

Begin at the Top 

square, C, and draw a diagonal line across it; continue the diag- 
onal lines across every other descending square (Fig. 358). Cut 
away the squared marked paper from the diagonal lines and the 
squares marked D D D D D D in Fig. 358 as shown by 
heavy line in Fig. 359. This makes the corner of the stairs. 
Lightly score all the horizontal lines, then crease the steps back- 
ward and forward along the horizontal lines. Make the other 
half section of front steps same as first, with the exception that 



The Temple of Diana at Ephesus 275 



the corner must run out to the left instead of the right hand, so 
draw the vertical lines (Figs. 357, 358, 359) at .the left side of the 

section and make 

that corner like the 

right-hand one, only 

reversed. 



i 














2 














3 












4 












5 










6 










7 








5 








9 






10 






n 




^ 







s 



Make a Brace 

for the centre where 
the two sections join, 



Fig. 357. — Vertical lines mark 
the end of the steps. 



Draw diagonal lines 
across. 






of a two and one-half 

by three-inch piece 

of cardboard ruled 

in half-inch squares . 
and cut like the Fig.358. 
heavy line on Fig. 
360. The steps on this must be cut still deeper, each one-half 
inch, according to the heavy lines in Fig. 360, and the extensions 
bent over at dotted lines as in Fig. 361. 
Fit and glue the straight edge of the left- 
hand front section of steps on this brace; 
have the brace flush 
with the edge of the 
steps. The brace should 
not reach to the tops as 
the tread of that step 
lies upon the founda- 
tion of the temple. 
When the brace is on, 
lap the edge of the 



5 



'.D 



5 



51 



$ 



SI 



Fig. 359- — Cut away the 
squares as shown here. 



right-hand section over 



Fig. 360. — Brace for cen- 
tre of steps ready to 
be cut. 



276 



Seven Wonders of the World 



the left-hand section half an inch ; glue the two together, and the 
front flight of steps will be finished. 
Make the back flight in like manner. 

The Side Steps 

have no square corner extensions like Fig. 359; the corners 
are cut according to the heavy line in Fig. 358. Each of the 





Fig. 361. — The finished brace. 



Fig. 362. — Brace for corner of 
steps ready to be cut. 



side flights of steps must have its central brace, the same as the 
front (Fig. 361), and the two sections of each side must be joined 
together as you joined the front flight. 

Make four more braces, one for each corner, by dividing with 

horizontal lines a piece of 
cardboard for each into 
six half-inch spaces, then 
crossing these lines by ver- 
tical lines wider apart, the 
width being the exact di- 
agonal distance across a 
half-inch square, for they 
must fit the diagonal edges 
Fig. 363.— Corner brace finished. of the steps at the corners 




The Temple of Diana at Ephesus 277 

of the four flights. There must be five of these wider spaces 
(Fig. 362). 

Cut along the heavy lines and bend down the point along 
dotted lines (Fig. 363). 

Fit and Glue 

one of these braces at each end of the two side flights, then glue 
the side flights on the sides of the temple foundation and the 
ground board. Fasten the extensions D D D D D D (Fig. 
359) of the corners of front and back steps to the side steps by 
binding them over and pasting them on the side steps. At the 
same time glue the front and back steps on the temple founda- 
tion and ground board. 

Set the temple up on a double pile of books placed on a 
table. The temple must be elevated that your friends may look 
in at the open front and behold the Goddess Diana. Your 
beautiful little classic temple will give some idea of the grand 
original structure rebuilt in Asia about 356 B.C., whose marble 
columns numbering one hundred and twenty- seven, were sixty 
feet in height and each the gift of a king. 




CHAPTER XXIV 
HANGING GARDENS OF BABYLON 

'AKE believe that you are in a singular 
place ; the city is square, filled with square 
lots, on which are square houses, built of 
square bricks, and, strangest of all, by the 
side of the king's magnificent square pal- 
ace there stands a wonderful garden. The 
garden is also built square in four mighty 
steps or platforms, one above the other, 

each supported by arches. 

These are the famous Hanging Gardens and you are in the 

ancient city of Babylon where Nebuchadnezzar is king, and the 

time is about the year 580 B.C. 

The King's Wife, Amytis, 

used to live in the mountainous country of Media, and when she 
married and came to Babylon, she longed for the sight of a hill, 
so her husband, King Nebuchadnezzar, had the Hanging Gardens 
built for her. Pretend that 

The Queen Has Invited You 

to explore the gardens with her. Up, up the many flights of 
marble steps you go to the tip-top of the beautiful hill, and stand- 
ing there by her side you have a splendid view of the surrounding 
flat country as well as of the River Euphrates, which divides the 

279 



280 



Seven Wonders of the World 



city into two equal parts, half on the east and half on the west 
side of the river. The Gardens are built as high as the walls 

of the city (three hundred feet) 
so you can readily look over 
the walls to the stretch of land 
on all sides. 

If you will find some very 

Stiff Pasteboard 

we can go to work immediately 
and build toy Hanging Gar- 
dens. Cut a piece of the paste- 
board exactly square, measur- 
ing on each of the four sides 
Fig. 364.— Cut a piece of pasteboard exactly eighteen and one-half inches 
square - (Fig. 364). Of this we will 

make a box-like foundation. Draw a straight line three inches 
from each edge, as shown by the dotted lines in Fig. 365. Take 
each line in turn and, placing the edge of a straight ruler along 



it, score the line ; that means, 
run the knife-blade along the 
pencil line at the edge of the 
ruler, cutting the pasteboard 
only partially through. As 
each line is scored, raise the 
pasteboard and bend it away 
from you along the scored line, 
then allow the pasteboard to 
lie out flat again. 

After all the lines are prop- 
erly scored, cut the lines A A 



A 



32) 



& 



A B 

Fig. 365.— Mark it off like this. 



Hanging Gardens of Babylon 



281 



c 



<Q 



B 



H 



B 



and B B (Fig. 365) only far 
enough inward to meet the 
lines C C and D D (Fig. 365). 
Allowing a scant half-inch ex- 
tension at each corner on the 
lines C C and D D, cut the 
corners out as in Fig. 366. 
Bend the four little exten- 
sions, then the sides E and 
F (Fig. 366). Cover the ex- 
tensions with strong glue and, 
bending the remaining sides F»g- 366.— Cut like this. 

G and H (Fig. 366), glue the extensions, one at a time, securely 
on these sides. 

Hold Each Extension Tight 

to the side until it sticks fast. In this way the cardboard will be 
made into a large, square box, which, when perfectly dry, must 
have openings cut through all the sides that it may resemble 
closely the foundation platform of the real Hanging Gardens. 



To Make the Twelve Openings 

on each of the sides of the foundation platform, cut a strip of 
cardboard twelve and one-half inches long, and three inches 
wide. Across the entire length of the strip draw lines half an 
inch apart, as I I (Fig. 367). Cross these short lines by a long 
line running lengthwise one inch from the top edge, J J (Fig. 367). 
Between this line and the upper edge draw another line, running 
lengthwise, a quarter of an inch from the line J J, as K K, Fig. 
367. You now have a strip of cardboard twelve and one-half 
inches long and three inches wide. Across its entire length 



282 



Seven Wonders of the World 



you have run two long lines, and across the entire width many- 
short lines. 

Begin with the Second Division 

from one end of the strip marked by the short lines, and make 
a dot on the centre of the line K K (Fig. 367) where this line 
crosses the second division. L (Fig. 367) shows the dot. 

The diagram Fig. 367 is merely intended as a guide, giving 
only portions of the twelve and one-half inch strip you are mak- 
ing. Begin at the lower corner of the small division under L 
(Fig. 367) and draw a curved line up to L; draw another curved 
1 1 





3 




K 






L. 
















/n> 




A\ 




r> 




f^ " 




















•0 





_ 



Fig. 367. — To make the twelve openings. 

line from the opposite corner of the same division up to the same 
point. The two lines will 

Form an Arch 

as in M (Fig. 367). Skip one division and draw another arch 
on the fourth division in the same way that you drew the arch 
of the second division. In like manner draw an arch in the 
space between the lines K K and J J of every other division on 
the strip. This will make twelve arched divisions, leaving a 
solid division or pillar at each end of the strip and also between 
each opening. With the point of your knife-blade 

Pierce Holes 

around the edge of all the arches as shown by the arch N (Fig. 
367); then with scissors cut the two sides of the second division 



Hanging Gardens of Babylon 



283 



up to the arch and, holding the cut piece with your thumb and 
first finger, bend it backward and forward until it breaks away 
from the strip, leaving an arched opening. Smooth the rough 
edge of the arch by cutting away the uneven particles. Cut all 
arches in like manner O O (Fig. 367) and cut the least bit from 
across each end of your strip — not more than a sixteenth of an 
inch — that the strip may slide inside of the box foundation. 
The strip will be a guide in making all of the arches of your 
Garden. 

Stand the Box on One Side 
and slip the strip inside of it ; lay the strip down flat on top of 
the lower side of the box (Fig. 368) and, holding it firmly in place, 
mark the divisions and arches 
on the box by running a pencil 
line around the edge of each 
opening arch of the strip. 
Remove the strip, and one 
side of the foundation will 
be marked ready for the 
twelve archways to be cut 
out. Repeat the markings on 
each of the four sides of the 
box foundation, cut open the 
archways as you cut those in 

the Strip and yOU will have Fig. 368-Stend the box on one side. 

made a garden foundation like the first story of Fig. 369. 

The Babylonians 

used arches to support their enormously heavy structures because 
arches are the strongest kind of foundations. Make another 
box of a perfect square of pasteboard measuring thirteen and 




284 



Seven Wonders of the World 



one-half inches on each of the four sides, to form the second plat- 
form. Mark off the two and one-half inch sides and your box 
will be eight and one-half inches square, with a height of two and 




Fig. 369. — Foundation of the Hanging Garden. 

one-half inches. After the glue of this is thoroughly dry, cut 
the arches. Use the same strip for a guide that did duty for the 
first platform arches. Cut four arches from one end of the strip 
and shave off the outside edge of the solid fifth division which 
forms the end of the strip where the portion has been taken off. 
The strip will now 

Fit in the Second Box Platform 

When this is all complete, make a third box still smaller, of 
pasteboard nine and one-half inches square. Measure off a 
two-inch border on every side to form the sides of the platform. 
The box should be five and one-half inches square and two 



Hanging Gardens of Babylon 285 

inches high. Cut arches in this platform with the aid of the 
same guiding strip of open archways after first cutting off three 
additional openings to make it fit the new box. You can also 
trim off the bottom of the pillars along the lengthwise lower edge 
of the strip that it may be narrow enough to fit more perfectly 
in the third platform. 
Make the fourth and 

Last Platform 

of pasteboard six inches square. When finished let the box 
measure three and one-half inches square and one and one- 
quarter inch high. Two more openings must be cut from your 
arched strip to shorten it sufficiently to fit in the last box plat- 
form, for this platform must also be cut into open arches. Build 
up the four platforms one on top of the other, as in Fig. 369. 

Place the centre of each platform exactly over the centre of 
the one beneath it. 

To Find the Centre 

take each platform in turn and lay a ruler very lightly on its top 
that no pressure may bend the arched sides; draw a pencil line 
across from the upper right-hand corner to the lower left-hand 
corner P, Q (Fig. 370); cross this line with another drawn diag- 
onally across the square from the other two corners R, S (Fig.371). 
The exact centre of the square top of the platform is at the dot 
T (Fig. 371), where the two lines meet and cross each other. 
Find the centre of each platform and very carefully puncture a 
hole through the centre with a coarse darning needle. You will 
have use for these centre marks when fastening the platforms 
together. 



286 



Seven Wonders of the World 



The Four Different Floors 

of the original Gardens were supported by pillars and arches, 
as you have made yours, only the real platforms had more pillars 
under them. Between the pillars which formed the square of 
the first lower platform twelve arched passageways ran, entering 





^k= 



=il 



Fig. 370. — To find the centre. 



Fig. 371. — Cross this line 
with another. 



Fig. 372. — A Babylonian brick. 



from each of the four sides and dividing the ground beneath, 
equally between pillars and passages. There were rows and 
rows of pillars and arches that gave the effect of a honeycomb 
with open-sided cells. The arches proper were formed at the 
top of the many pillars which supported them, and all were built 
of the 

Queer Square Bricks 

which had the king's name stamped on them, with other writing 
in a square bounded centre. The bricks were twelve inches 
long, twelve inches wide, and three inches thick and looked like 
Fig. 372. You must pretend that your pasteboard pillars be- 
tween each opening are made of just such bricks and that there 
are many, many more brick pillars throughout the entire space 
beneath the floors. 



Hanging Gardens of Babylon 287 

Cut Light-Green Tissue Paper 

into strips wide enough to extend a trifle over the edge of the 
platforms while reaching in across the top far enough to have 
the inner edge of the strip covered by the platform resting over 
it. The tissue paper should form a flat green band bordering 
the entire top ledge of the first three platforms. 

Cover the entire top of the fourth and last platform with the 
green tissue paper. 

Before you can 

Plant the Shrubs and Trees 

you must dig holes in the earth for their roots. Take each plat- 
form in turn and, with a coarse darning needle, puncture holes 
entirely through both green paper and pasteboard. Let the 
holes be in straight rows; make them on the projection or step 
of each platform, midway between the extreme edge and the 
walls of the next higher story. On the first, second and third 
platforms the holes should be an inch and a half apart. Pierce 
three holes through the top of the fourth platform, one at the 
back on the extreme left-hand corner and one on each side of 
that hole, but much nearer the centre. 

You "Will Need Ground 

upon which to erect your Hanging Gardens. Get a piece of 
heavy, stiff pasteboard which will not bend, or a light board 
about seventeen inches wide and nineteen inches long. Cover it 
with green blotting paper, allowing the paper to extend over all 
the edges. Paste the four turned-over portions of green paper 
on the under side of the board or ground. 
Now build up the Gardens. First 



288 



Seven Wonders of the IVorld 



Stick a Long Hat-Pin 

through the centre of the fourth or top platform. Then run the 
hat-pin through the centre of the third platform; slide this up 
next to the top platform, keeping the sides straight and parallel. 
Add the second and the first platforms to the others, running the 
pin each time through the centre of the top of the platform. 
Place the structure on the ground with one of its sides flush with — 
that is — along the edge of the ground, and its adjoining side two 



.*** 





Fig. 373- — Place the building on the 
ground in this position. 



Fig. 374. — Paste the strip to the side 
of one box and the top of an- 
other. 



inches from the adjoining edge of the ground, leaving about five 
inches of ground in front and four inches of ground at the other 
side of the Gardens. Then stick the hat-pin firmly down into 
the ground and leave it there until the structure is all glued to- 
gether. In fitting the building on the ground be certain that it 
is turned so that the back of the top platform on which you have 
pierced the hole at the extreme left-hand corner lies along the 
back edge of the ground O (Fig. 373). 

To Bind the Different Parts 

of the structure firmly together and fasten the whole building to 
the ground, cut sixteen strips of white writing paper two inches 



Hanging Gardens of Babylon 289 



long and a scant half -inch wide; fold each strip crosswise through 
the centre; then, paste half of one strip on the fourth platform 
upward from the right-hand lower corner; bring the free half of 
the strip out flat on top of the next platform, which extends im- 
mediately beneath it, and gum down securely (Fig. 374). Bind 




Flap G f 



Fig. 375- — Cut the first flight of steps like this. 

the other three lower corners of the top platform down to the top 
of the next platform in the same manner; then fasten the third 
to the second and the second to the first platform, also the first 
platform to the ground. When the paste is perfectly dry, cau- 
tiously remove the hat-pin. 

Build the Four Flights of Steps 

from stiff white writing paper. Cut Fig. 375, for the first flight of 
steps; make them exactly according to the dimensions or sizes 



290 Seven Wonders of the World 

of the different parts given. You will find that the stairs them- 
selves C, C (Fig. 375) must be four and one-eighth inches long 
and an inch and one-eighth wide. The height of the side of the 
stairs D, D (Fig. 375) is three inches. The length of the bottom of 
the side of the stairs D, E (Fig. 375) is four inches. The top of 
the side of the stairs D, F (Fig. 375) is one inch, and the width 
of the back, one and one- eighth inch; this should be the same 
width as the stairs C, C (Fig. 375) because it is intended to fit on 
and over the flap H that turns down from the top landing and is 
the same width as the stairs C, C (Fig. 375). 
The height of the back is three inches. The 

Top Landing of the Stairs 

(L, Fig. 375) is one inch by five-eighths of an inch. Cut all of 
the heavy lines of the stairs and bend backward all of the dotted 

lines except that along the flap 
G at the bottom of the side 
which must be bent forward 
that it may lie flat on the 
ground. Open out the stairs 
flat and with pen and ink 
draw straight lines from side 
to side of C C; the lines will 
serve for steps. In like manner 
make lines on each of the three 
other flights of steps. Bend 
_,. „„.. v . . ... . . , down the two flaps H and T 

Fig. 376. — Your stairs will stand alone. " J 

on the top landing (Fig. 375), 
then the line F E along one edge of the steps; turn outward the flap 
G, bend down the line F L at the head of the stairs, which will bring 
the flap J under the top of the side D F. Turn back the line 





Making Our Hanging Garden. 



291 



292 Seven IVonders of the World 

D D that the back may cover the flap H. Crease down the flap 
K tight and flat ; let its top M extend around and lie flat against 
the under side corner N of the flap H, and your flight of stairs 
will be able to stand alone (Fig. 376). 

Gum the Extension 

of the top landing securely along the front edge of the extreme 
left-hand coiner of the first story of your Gardens and fasten 
the flap G to the ground. Make three more flights of stairs in 
the same way, only let the second flight run in the opposite di- 
rection from the first, as shown in Fig. 377. To do this, simply 
bend the dotted lines forward instead of backward, except the 
lower flap at bottom of the side, which should be bent backward ; 
this method of folding turns the stairs around, bringing the under 
side of the paper topmost after the stairs are bent into shape. 
Let the second flight of stairs measure in length from C to C 
(Fig. 375) three and one-half inches, in width seven-eighths of 
an inch, height from D to D two and one-half inches, length 
D E three and one-eighth inches, length of top of side D F three- 
quarters of an inch, height of back two and one-half inches, width 
of back seven-eighths of an inch; top landing, three-quarters of 
an inch by three-eighths of an inch. 
Fasten the 

Second Flight of Stairs 

at the right of the second story as you glued the first on the left 
hand of the first story. Crease the third stairway in the same 
way as the first, for it is to run in the same direction. Let these 
stairs measure in length from C to C (Fig. 375) two and seven- 
eighths inches, in width five-eighths of an inch, height from D 
to D two inches, length D E two and one-half inches, top of 
side D F half an inch, height of back two inches, width five- 



Hanging Gardens of Babylon 



293 



eighths of an inch; the top landing one-half inch by one inch. 
Fasten this stairway at the left-hand corner of the third platform. 

Make the fourth and last stairs turn in the same direction as 
the second. These are the smallest: Length from C to C (Fig. 
375) one and three-quarters inches, width three-eighths of an 
inch, height from D to D one and one- quarter inch, length D E 
one and one-half inch, top of 
side D F one- quarter of an 
inch, width of back three- 
eighths of an inch, height of 
back one and one- quarter 
inch. Top of landing one- 
quarter of an inch by five- 
eighths of an inch. Bend in- 
to shape and glue this flight 
of steps at the right-hand cor- 
ner of the top platform of the 
Gardens. 

Now go to work on the 

Stone Broad-Fronted Bulls 

which are to stand in pairs at 
the landing of each stairway. 
Make Fig. 378 of white 
paper and with ink draw the 
wings, face and hat like Fig. 
379. Then cut out the strange 
animal, part bull, part bird, 
and part man. Bend at dot- 
ted line on top of wings (Fig. 

378); bend OUtward all four Fig. 378— Cut out the stone bulls by this pattern. 




294 



Seven Wonders of the IVorld 




Fig. 379- 



of the extensions under the hoofs and stand the creature at 
the top of the first stairway. Paste the extensions out from the 

hoofs firmly to the platform. 
Carve or cut out seven more 
stone bulls and place two at 
the head of each stairway as in 
Fig. 377. Gum each stone bull 
securely in place. One more 
bull is needed which must 
stand up high on top of a stone 
shaft (Fig. 380). Heightof shaft 
is three and one-fourth inches, 
not counting flaps or bull; width 
of same pattern at top fully two 
and one-half inches, width at 
bottom three and one-fourth 
inches. Height of bull from top 
of wings to bottom of feet one and one-fourth inch. Mark and fold 
it along dotted lines like Fig. 381, sliding the two flaps P P (Fig. 
380) through the slits Q Q; crease the flaps backward to form 
paper hooks that hold fast. Turn out the extensions R R, which 
must be pasted down flat near the right hand on the back part 
of the top of the third story. The shaft will extend up high above 
the fourth story, as in Fig. 377. 

Make Two Statues 

a little larger than diagram and glue one at the right-hand corner 
of the front of the first platform, and the other on the right-hand 
corner of the back of the first platform as in Fig. 377. Use 
two pieces of white stiff writing paper for the two statues (Fig. 
382). Cut all the heavy lines and bend back all the dotted lines 



-The stone bull who will guard 
your stairway. 




Fig. 380. — The bull on the shaft is made in this way. 



295 



296 Seven Wonders of the World 




Fig. 381.— Stone shaft 
and ball. 




V) 

Fig. 382. — Use writing paper for the statues. 






Fig. 383.— A tree in the 
garden of fringed paper. 



Fig. 384.— A palm 
tree. 



Fig. 385.— A tree In the 
garden. 



Hanging Gardens of Babylon 



297 



except the extensions V V; bend these forward. Slip the flap S 
through the slit T; bend down and fit in the top U; then glue 
the statues in place. Color all of the white extensions of stairs, 
bulls, and statues with green paint or with green tissue paper 
pasted over them. 

The Garden will now be ready for 

The Shrubbery 

Use different tones of green tissue paper for the three varieties of 

trees (Figs. 383, 384, 

385). Make several 

trees of each kind and 

have all of the same 

variety, made of one 

tone of paper. For 

Fig. 383 fringe the 

paper as in Fig. 386; 

have four layers of 

paper for the fringe 

and one layer for the 

unf ringed part; begin 

with the plain strip 

and roll it around and 

around a slender stick (Fig. 386). Bend the top over to prevent 

its unrolling (Fig. 383). 

Plant This Tree 

in the hole you dug for it on the first platform just back of the 
front statue (Fig. 377); alternate these trees with the palm trees, 
extending the line entirely around the top of the first platform 
of the Gardens. Fig. 387 gives the pattern for the palm; cut 




Fig. 386. — Make fringe like this. 



298 



Seven IVonders of the World 



the six leaves and strip all in one piece, fold each leaf lengthwise 
through the centre W, and fringe as in X; unfold the leaves and 




w x 

Fig. 387. — Pattern for the palm tree. 

double the strip on dotted line Y and roll it on a slender round 
stick as you did the first tree. 

For the other tree use six layers of fringe which you have 
cut like Fig. 386, and afterward crimped with a blade of the 
scissors. This time begin at the top of the stick instead of the 
bottom and with the narrow top of the fringe roll the paper down 
to the pointed end of the stick. This gives the tree a bushy 
foliage (Fig. 385). 

Cut circles of dark olive-green paper to 



Make Plants 

like Fig. 388. Fold the circle evenly four times and cut like 
Fig. 389, stopping at dotted line before reaching the centre. 





Fig 388.— Cut circles of 
green paper. 



Fig. 389. — Fold and 
cut like this. 



Fig. 300. — The circle cut 
and opened. 



Hanging Gardens of Babylon 



299 



Unfold and the papers will resemble Fig. 390. Hold each of these 
at the centre, and twist a few times to make the stems (Fig. 391). 
Plant the shrubs between the trees on top of the second platform. 
Cut a number of light sage-green tissue paper shapes like Fig. 






Fig. 391. — A shrub for the 
garden. 



Fig. 392. — This is for a 
plant. 



Fig. 393- — Twist the 
stem of the plant. 



392 for plants. Holding each of the plants at the centre, crease 
by drawing it lightly through the fingers of the other hand, twist 
the stems (Fig. 393) and plant between trees. 

Arrange Your Plants 

in precise formal rows, a tree then a plant, next a tree and so on 
allowing a tree in a higher platform to come between two plants 
in the platform beneath as in Fig. 394. 




Fig. 394. — In formal rows. 



300 Seven Wonders of the World 

Make yines of rather long, very finely cut and crimped tissue 
paper fringe; paste the vines between the row of trees on the 
first platform, allowing portions of the vine to hang over the 
edge. Make a number of palm trees and plant the roots or ends 
of the tree trunks in button moulds. Glue the moulds at equal 
distances apart and in a straight line along the ground on the 
three sides of the gardens. 

Play that in the highest platform of the pyramid . 

An Engine Pumps up the Water 

from the river Euphrates, that runs along below on one side 
of the structure, to supply the garden with fountains which you 
can make believe are sparkling and dashing here and there 
among rare shrubs and many-colored, fragrant flowers. You 
must pretend that the spaces between the arches on the different 
platforms are made into magnificent apartments and banquet 
rooms and below in the vaulted corridors the money changers 
and politicians ply their trades, while outside on the terraces are 
to be found the simple, sweet pleasures of wholesome Nature. 



PART III 

THINGS TO MAKE FOR HOME, GIFT DAYS, 
AND FAIRS 




The Tissue Paper Christmas Greens Look Very Natural. 



302 



CHAPTER XXV 
NEW CHRISTMAS DECORATIONS 




REATHES of the spiked leaf 
holly, branches of white ber- 
ried mistletoe and yards of 
evergreen rope can be made 
of tissue paper to look so 
natural it is difficult to 
believe Mother Nature did 
not provide the material. 



Paper 

enough for the making of Christmas greens to decorate an ordi- 
nary room quite lavishly may be bought for fifty cents or less. 
One sheet of tissue paper will make thirty-two holly leaves. One 
sheet of tissue paper will make t a large bunch of mistletoe and 
one sheet of tissue paper will make one yard of evergreen rope. 
Complete success in this work depends largely upon the paper 
used and great care must be taken in selecting the colors. The 
quality should be good, else it will lack the necessary crispness 
and staying properties. 

For the holly and evergreen choose a dark moss-green paper, 
which is a yellow green with no tinge of blue. For the mistletoe 
you must have a light gray-green, also of a yellow tone, a light 
cardinal red for the brilliant holly berries, white for the waxy 
mistletoe berries and dark gray-brown for holly stems. One 

3°3 



304 Things for Home, Gift Days and Fairs 



sheet each of the red and white paper will probably be sufficient 
for all the berries you will want, and one sheet of gray-brown will 
answer for the stems. Besides the paper you must have a spool 
of fine wire or coarse thread for winding and some natural bare 
branches or twigs, or a roll of heavy bonnet wire for stems. 
Begin with the 

Holly 

and cut one sheet of the dark moss-green tissue paper in half 
(Fig. 395). Fold the half sheet according to the dotted lines 
through the middle and you will have Fig. 396. Fold Fig. 396 
through the middle as shown by the dotted line and there will be 
Fig. 397. Bring the two ends of Fig. 397 together, folding at 
the dotted line, and it will give you Fig. 398. Again fold along 

the dotted central line and 
you will have Fig. 399. Fold 
through the middle, along 




Fig- 395- — Cut a sheet of tissue paper in half. 



Fig- 397- — Fold again. 



New Christmas Decorations 



305 




Fig. 398.— Bring the ends together. Fi S- 399-— Fold once more. 

the dotted line, for the last time and there will be an oblong, 
one and three-quarter inches wide by five inches long. 

With a soft lead pencil draw the outline of a half holly leaf 
after the pattern (Fig. 400), the fold of the paper forming the 
straight edge of the outline. Cut along the pencil line, open the 
fold and there will be sixteen leaves like Fig. 401. The dotted line 




Fig. 400. — The paper is 
folded and leaf cut out 
like this. 




Fig. 401. — Sixteen leaves like this. 



306 Things for Home, Gift Days and Fairs 



running lengthwise through 
the middle of the leaf shows 
where the paper was folded. 
Have a damp sponge ready 
and slightly moisten the fingers 
of your right hand on the 
sponge — never with your lips 
in handling green paper. 
Take one leaf in your left 
hand and with the moist 
fingers of your right hand 
twist each point of the leaf 
into a sharp spike, beginning 
at the top of the leaf as in 
Fig. 402. Twist the lower 

Fig. 402. — Begin at the top to twist the points. p ar t of the leaf into a Stem 

(Fig. 403) and, refolding the leaf down 
the middle, pinch the underside of the 
fold to form the mid-rib, bringing your 






Fig. 403. — Pinch the underside to form 
the mid-rib. 



Fig. 404. — The finished leaf 
will look like this, 



New Christmas Decorations 



307 



two hands together and puffing the paper a little as you do so 
(Fig. 403). The finished leaf should resemble Fig. 404. The 
crinkled appearance given by pinching and twisting adds much 
to the natural look of the leaf. You may vary the size, making 
some leaves smaller than others, but keep as nearly as possible 
to the pattern, for experiment has proved it to be a good one. 
Before putting your leaves on the stems make the 

Holly Berries, 

for they must be fastened on first. 

From your red tissue paper cut a number of pieces two and 
a half inches square, make a little ball of raw cotten a trifle larger 




Fig. 405. — Place the cotton in the 
centre of the paper. 




Fig. 406. — Draw the paper 
around the ball. 





407. — Wrap the three 
stems together. 



Fig. 408.— Cut off the 
ragged ends. 



308 Things for Home, Gift Days and Fairs 




Fig. 409. — Fasten the berries to 
the end of a twig. 



Fig. 410. — Beginning to wrap the stem. 




Fig. 411. — The stem is 
wrapped with paper. 



Fig. 412. — Fasten the leaves to the stem. 



New Christmas Decorations 



309 



than a good sized pea and place it in the centre of one of the 

squares of paper (Fig. 405). Draw the paper up and around 

the ball, completely covering it, then twist the remainder of the 

paper into a stem (Fig. 406). Make three berries, twisting their 

stems as tightly as 

possible and bunch 

them. With your fine 

wire or thread, wrap 

the three stems closely 

together (Fig. 407) 

and cut off the ragged 

ends (Fig. 408). Take 

up a natural branch 

and wrap the stems 

of the berries to the 

end of a twig (Fig. 

409). Cut a strip of 

the gray-brown paper 

half an inch wide 

and about four inches 

long, and, beginning 

close to the berries 

(Fig. 410), wrap the 

stem with the paper 

as shown in Fig. 411. 

Fasten three leaves Fig - ^--Place the other leaves about one inch apart. 

to the stem close to the berries as in Fig. 412, and place other 
leaves about one inch apart, alternating first on one side then on 
the other side of the stem (Fig. 413). 
When the holly is to be made into 




310 Things for Home, Gift Days and Fairs 

Wreaths, 

the branches should not be large and a small wooden or wire 
hoop should form the foundation of the wreath. Upon this 
hoop the small branches of holly must be bound, overlapping 
one another and extending out beyond the hoop to form a gen- 
erous wreath. A bright red ribbon bow, fastened at the top of 
the holly wreath, gives it a still more realistic effect. 

For Mistletoe 

cut the gray-green tissue paper into pieces eight and one-half 
inches long by one and a half inches wide. Bring the two ends of 
a strip together, folding through the middle, to form the oblong 




Fig. 414-- 



• Bring the two ends of the strip 
together. 



Fig. 415 — Cut out the mistletoe leaf in this 
way. 



(Fig. 414). Fold Fig. 414 lengthwise through the middle along 
the dotted line and on it draw the outline of half of a mistletoe 
leaf, with the straight edge on the long fold and the stem end on 




Fig. 416. — The twin leaves. 



the short fold of the paper (Fig. 415). Cut along this outline, 
open the folds and you will have twin leaves like Fig. 416. Bring 
the two open leaves together and twist the connecting part into 



New Christmas Decorations 



311 




Fig. 417. — Twist the connecting part into a stem. 




Fig. 418. — Nestle a couple of berries in between two leaves. 



a stem like Fig. 417. Make a number of white mistletoe berries 
according to the directions given for the red holly berries and 
wrap them together in pairs; then nestling a couple close in 
between two leaves (Fig. 418) wrap them on the stem. The 



Stems 

of the mistletoe should be very irregular and branching, and it 
may be necessary to make them of bonnet wire in order to pro- 
duce the proper shape. 

Fig. 419 shows the branching irregular stem and the position 
of leaves and berries. Some of the twigs should be left bare, as 
they are so often on the natural mistletoe branch. 

Fasten on the leaves and berries by wrapping with fine wire 
and then cover the stems with strips of the gray-green tissue 
paper, wrapping it as directed in making the holly branch. The 
only difference being that while the holly stem is wrapped with 
paper only far enough to cover the red stems of the berries and 
the leaves are put on afterwards, the mistletoe leaves must be 



312 Things for Home, Gift Days and Fairs 

fastened on with the berries and the entire stem then covered 
with the paper. You will remember that the stems of the natural 




Fig. 419. — Put the leaves and berries on the stem. 



mistletoe are as pale in color as the leaves, so no dark wood must 
show in your branch. 

Hang your bunch of mistletoe from the chandelier and you 
will find that no one will stop to examine it too closely, and the 
Christmas games can be played just as merrily under the paper 
as under the real mistletoe. 

There now remains but the 

Ropes of Evergreen 

to complete the time-honored Christmas decorations. 

Fold a sheet of the dark moss-green tissue paper crosswise, 
then fold again and you will have an oblong a little less than four 



New Christmas Decorations 



313 



inches wide and the length of the paper's width. Press the folds 
down flat and cut them open with a paper knife, then, keeping 
the strips together, fold crosswise through the middle; again 




Fig. 420. — Cut this oblong into a 
fringe. 




Fig. 421. — Begin the evergreen rope in this way. 



fold crosswise through the middle and there will be an oblong 
like Fig. 420. Cut this oblong into a fringe, bringing the slits 
to within one inch of the top edge and making each strip not 
more than one-quarter of an inch wide (Fig. 420). Unfold and 




Fig. 422. — The evergreen rope is made like this. 

separate four pieces to loosen the fringe, then place the top edges 
of the four pieces together once more and, taking a long piece of 
strong twine, curl the right hand upper corner of the heading of 



314 Things for Home, Gift Days and Fairs 

the fringe over the twine near the end (Fig. 421). From this 
start to wrap the fringe around and around the twine forming 
the rope shown in Fig. 422. 

When you have almost reached the ends of the first four 
strips of fringe, paste the ends of the headings of four more 
strips on to the first and continue to wrap as before. In this way 
you may make your evergreen rope as long as you wish. 

There is just one word of caution which must go with the 
assurance of the real beauty of these Christmas decorations and 
that is: Remember to hang your wreaths and ropes where they 
will not be exposed to the flames of gas, candle or lamp, for while 
they are scarcely more inflammable than the natural greens, it is 
not well to take any risks and neither is it at all necessary. With 
this in mind your rooms may be inexpensively, prettily and safely 
decorated with the tissue paper Christmas greens. 



CHAPTER XXVI 



DOLL HOUSE OF PASTEBOARD 



OUNTRY houses are very attractive, even 
the toy ones possess a certain charm. 
Here is a great, big, beautiful, country 
doll house for the doll people to live in. 
It has window shutters to open and 
close, doors that will open and shut, and 
the doors have little door knobs like real 
ones. Each room has a different, colored 
frieze around the walls, and the floor of 
the living-room is covered with a handsome rug. All the 
windows are curtained, and the house is ready to furnish. You 
can make any and all kinds of furniture with empty spools of 
different sizes and pieces of pasteboard cut in various ways. As 
a hint, just to show how easily the furniture is made, glue a 
round piece of pasteboard on top of 




A Large Spool 

and you will have a pretty little table; paint it a red brown to 
resemble mahogany. If you need more suggestions, spool furni- 
ture may be found in "What a Girl Can Make and Do." 

To make the doll house. Get three sitff pasteboard boxes 
about fourteen inches long, thirteen inches wide and six and 

315 



316 Things for Home, Gift Days and Fairs 




Fig. 423. — First pasteboard box for doll house. 



one-half inches high (Fig. 
423). Cut the thirteen-inch 
front and the right-hand side 
from the first box (Fig. 424). 
Take the second box and lay 
the fourteen-inch front down 
flat on top of an old, common 
wooden table which can be 
used without fear of injury, 
and with the aid of a ruler, 

draw two straight lines across the front on the inside of the box; 

let each line be about one A 

and one-fourth inch from the 

side. Keep the box as it is 

while you score the lines with 

a sharp penknife; then cut 

out the front, leaving the 

upright pieces to form the 

corners at each end (Fig. 425). 

Cut the thirteen-inch front 

and left-hand side from the 




Fig. 424. — Front and right-band side cut from box. 



third box (Fig. 426). 




Fig. 425. — Second box with corners left on front 



Mark two high windows (Fig. 427) on 
the inside, near the front of the 
left side of the first box (Fig. 
424). Make each window two 
and one-half inches high and 
two and one-half inches wide, 
leaving a space of three- 
fourths of an inch between 
them. Lay this left side of 
the box flat down on the table 



Doll House of Pasteboard 



317 



and use the sharp penknife to score the dotted lines and cut 

the heavy lines. 

box, otherwise the shutters 



Always cut and score from the inside of the 
f 




Fig. 426. — Third box with front and left-hand 
side cut off. 



will turn inward. 

When the window is scored 
and cut, throw 

Open the Shutters 

and look out through the 

little opening of the doll's 

kitchen window (Fig. 428). 
In the second box (Fig. 

425) cut a door five and one-half inches high and three inches 

wide through the left side wall, one and three-fourths of an 

inch from the back wall. The 
two high windows, each two 
and one-fourth inches wide 
and two inches high and the 
one ordinary large window, 
four inches high and two and 

Fig. 427.— Two high windows marked in left one-fourth inches wide, must 
wall of first box. ^ , , . 

be marked on the back wall 
(Fig. 429) and cut (Fig. 430). Cut another door in the room 
through the right-hand side wall near the front (Fig. 431) and 
bend it wide open (Fig. 432). 

Make Doorknobs 

of large-sized beads, and fasten 
one on each side of both doors 
with a strong, heavy piece of 
broom- straw run through and 







Fig. 428. — Look through the open windows. 



318 Things for Home, Gift Days and Fairs 









1 
1 

1 










i 
i 







Fig. 429. — Two high and one ordinary window in back 
wall of second box. 




Fig. 430. — Windows in second box opened. 



glued in a hole punc- 
tured through the door 
with a coarse darning 
needle or hatpin. Slide 
a bead on each end of 
the broom- straw and 
glue them securely in 
place. Strengthen the 
hinges of each door with 
a narrow strip of thin 
white cotton cloth pasted 
lengthwise on the open 
door, half on the door 
and half on the wall. 
In the third box (Fig. 

426) cut a large window through the back wall four and one-half 

inches high and three and one-fourth inches wide. Fig. 433 

shows this window in detail 

with one shutter open and 

one closed. 
Excellent 

Window Glass Can Be Made 

of white tissue paper cut to 
fit the various windows, al- 
lowing one-fourth of an inch 
extension on all four sides. 
Immerse the paper thor- 
oughly on both sides in oil; 
with a dry, clean cloth wipe 
off the oil; again immerse the Fig. 432— Door opened. 




Fig. 431. — Door in right-hand wall of second box. 



Doll House of Pasteboard 



319 



1 

1 

i 

* 

• 

i 

! 

I 
i 






i 













papers, let them remain in the 
oil for some minutes and a 
second time wipe the oil from 
both sides of each paper. This 
makes the paper almost trans- 
parent. 

The window frame or sash, 
is made of strips of black or 
inked paper, one long, narrow 
strip pasted down the entire 
centre length of each window 
glass and a wider strip fastened ^^-^Zt^^T *"" 
across the first strip at the 

centre, from side to side of the glass (Fig. 434). Keep the glass 
and the sash divisions perfectly smooth while fastening them 
together. 

When all are ready, close the shutters of each room in turn, 
and place first one '.and then another side flat down on top of the 
table and brush a little glue all around the edges of the window 
opening (Fig. 435); lay the glass over the opening, making sure 

that the edges of the glass 

extend evenly out on the 

wall surface from all sides. 

Do not rub the glass, press 

it tightly down with a dry 

cloth. 

After the windows have 

been glazed cut strips of 

fresh, smooth, ordinary 

wrapping-paper, not less 






Fig. 434. — Window glass. 



Fig. 435- — Opening of 
than One-fourth Of an inch window ready for glue. 



320 Things for Home, Gift Days and Fairs 



wide, and cover the edges of each window glass with the strips, 
paste them on straight and even to form woodwork around 
the window as well as to cover the edges of the glass (Fig. 436). 




Fig. 436. — Paper woodwork Fig. 437- — Kitchen, 

window frame. 

Fit the second box (Fig. 425) in the first one (Fig. 424), mark and 
cut off the portion of the first box (Fig. 424) extending beyond the 
front of Fig. 425; do thes ame with the third box (Fig. 426), that 

all three boxes may 
be of equal depth, 
and when fastened to- 
gether the long front 
line may be straight 
and even. 

If You Want the Doll 

House to Last for 

Years, 

reinforce the building 
with strips of wood (A B C, Fig. 424; D E F, Fig. 425; G H I, 
Fig. 426). Where any two strips meet, glue the ends together 




Fig. 438. — The living-room. 



Doll House of Pasteboard 



321 




Fig. 439- — The bedroom. 



and fasten to the 
pasteboard walls. If 
you cannot obtain 
very thin strips of 
wood, use strips of 
pasteboard as stiff as 
wood. 

Be sure that your 
flour paste has boiled 
well and is strong and 
thick, for fastening 
the three rooms together. Give the kitchen (Fig. 437) a generous 
layer of paste down the inside edge of the back wall and along 
the edge of the floor at the open side ; then fit the left-hand edge 
of the floor and back wall of the living-room (Fig. 438) over the 
paste and press it firmly in place. Fasten the bedroom (Fig. 439) 
on the right-hand side of Fig. 438 in the same manner. 

Close the little shutters and 

Place the Doll House on the Floor 

of a real room, tight up against the wall; then put weights along 
on the inside edges of the floor of the toy living-room and pile 
books up close against the back wall; at the same time do not 
press the side walls out of plumb; keep them straight. 

When the house is 
perfectly dry, tack one 



Fig. 440. — The bottom of the house is like this. 



thin strip of wood across 
the entire length of the 
top of the back wall of 
the house from end to 
end. You can manage 



322 Things for Home, Gift Days and Fairs 

this very readily by turning the house and laying the back wall 
flat on the table, the top edge of the wall barely covering the 
strip of wood; then you can tack at long intervals from the 
inside of the wall and fasten the pasteboard walls to the wood. 
Be sure to glue the ends of the side wall strips securely to the 
back wall strip. 

Set the house upright in proper position and tack thin strips 
of wood along the under edge of the bottom of the house. Fit 
one strip under the house at a time and tack from the inside of the 
house through the pasteboard floor into 
the wood. Make the ends of the up- 
right side wall strips fast to the under- 
floor strip. When finished, the bottom 
of the house should resemble Fig. 440. 




Fig. 441. — Cut the paper like 
this for the frieze. 



Make the Frieze 
for every room of three strips of tissue 
paper cut five-eighths of an inch wide. 
Fold each separate strip crosswise through 
the centre ; again fold through the centre, 
and fold a third time, making eight layers of paper. Cut the 
folded strip like Fig. 441, unfold, and you will have Fig. 442. 
Try for a different pattern in each room, and let the colors vary. 
A soft yellow for kitchen, sage green for living-room, and a light, 
warm yellow pink for bedroom are a pleasing variety. 

Brush a thin layer of paste the width of the frieze along the 




< ^?£svl ^V£^SV? 5Vcv3v| 



Fig. 442. — Frieze opened out. 



Doll House of Pasteboard 



m 



top edge of the walls of the kitchen (Fig. 424) and fasten on the 
yellow frieze. Do the same with the living-room, fastening on 
the green frieze (Fig. 425), and in the bedroom the pink frieze 
(Fig. 426). 

Cut a Rug for the Living-Room 

from sage-green tissue paper; make it ten inches long and seven 

and one-half inches wide. Fold the paper lengthwise through 

the centre, then crosswise through the centre, 

and a second time crosswise, making eight 

layers. Cut according to Fig. 443, unfold once 

(Fig. 444), and cut the designs K and N; fold 

diagonally the loose corners L according to 

dotted line and cut design M (Fig. 445). Open 

out the rug (Fig. 446). 

Cover the required space on the living-room 
floor with a thin layer of paste, place the rug down over it. 
using both hands, to avoid wrinkles. 

With the same kind of wrapping-paper used for the wood- 
work you can make projecting window-sills. Fold and crease 



<^ 



Fig. 443. — Cut through 
all layers of rug. 



nr 



1 



/ £?*£> c ^ 



L Fig. 444. — Cut out designs K and N. 




<y^> 




Fig. 445. — Cut out design M. 



the paper into a narrow box-lid long enough to extend across the 
window, including the woodwork; glue one of the lengthwise 
turned-down edges on the wall below the window glass. 
Make three 



324 Things for Home, Gift Days and Fairs 

Shelves for Books, 

with the ends of the shelves turned up to hold the books in place. 

Fasten the lengthwise turned-down edge of the first shelf on the 

wall three-quarters of 
an inch below the 
high window in the 
living-room, and paste 
the other two shelves 
below at short dis- 
tances apart. 

You can easily 



a? G^c^v^c^ £2 





<5^>^=^^ ) <^> SS 



Fig. 446. — The rug for the living-room. 



make tiny books of 
several pieces of folded 

paper cut the desired size and sewed together through the centre 

fold. Hang red 

Tissue Paper Curtains 

in the living-room, white tissue-paper curtains in the bedroom, 
and yellow ones in the kitchen, as seen in Fig. 447. 

Little shelves over the tops of the doors may be made in like 
manner, also a cunning little three-cornered bracket to fit the 




Fig. 447- — House ready for spool furniture. 



Doll House of Pasteboard 325 

corner of the room for holding a tiny Japanese vase of satiny 
yellow ware, the straight up-and-down kind, made of a three- 
fourth-inch length section of common straw pasted on a wee 
round disk of paper. Fill the vase with tiny red paper flowers 
fastened on broom-straws. 




CHAPTER XXVII 

THE MAKING OF A BAYBERRY CANDLE 

'ROWING wild all along our eastern coast 
from Nova Scotia to Florida is the 
bayberry-bush, once well known and 
valued, now overlooked and almost for- 
gotten, although a wealth of sweet smelling 
wax is held in its tiny berries. 

A quart of bayberries, a little time, 
a little trouble, and we have a beautiful 
green wax candle, hard, brittle and 
smooth, that hot weather will not melt and whose expiring 
flame yields an incense sweet and aromatic. 

There is a peculiar joy in using the raw material fresh from 
Mother Nature's hands and starting at the beginning of things 
— a joy unknown to those who work only with materials that 
are manufactured — and to get the most out of the work of making 
bayberry candles you must begin with the bayberries. 
First locate your 

Bayberry-Bushes ; 

then, just the time when out-of-door exercise begins to be a de- 
light, the latter part of September or early in October, gather the 
berries and take them home for future use. 

The bayberries, which seem to be nothing but tiny stones 
covered with a coating of wax, do not decay quickly, but shrivel 
up into small gray pellets that will keep, it is said, a year or more. 

326 




The Fragrance of the Steaming Eayberry Fills the House. 



327 



Making a Bayberry Candle 



329 



Look for a bush that is stiff and irregular, generally growing 
low in closely crowded patches like the blueberry, though at times 
reaching the height of eight feet. It appears to thrive best and 
is most often seen in sandy soil, but it will grow in almost any 
kind and flourish even amid the rocks on a barren hillside. 



The Leaves 

are oblong and from two to three and a half inches in length 
(Fig. 448). They usually have several teeth, or notches, near 




Fig. 448. — The bayberry leaf looks like this. 



330 Things for Home, Gift Days and Fairs 

the tip and are quite narrow at the base. Sometimes they are 
scattered and again in close bunches. The young leaves are a 
pale green frequently tinged with red; when matured they are 
a bright green, glossy, and of a leathery texture and they are very 
fragrant when crushed in the hands. The bark is brownish 
gray and the young stems light, or golden brown. 



The Berries 

are quite small and grow in thick clusters on short stems. 
Fig. 449 gives the berries, drawn from nature and of actual 
size- They are green at first, but, when ripe, turn a light 

silvery gray. As it will take about 
one quart of berries to make one 
candle you may adapt your picking 
to the number of candles you want. 

Keep the berries in a dry place 
until 



You are Ready to Make your Candles, 

then into a six-quart preserve-kettle 
pour three quarts of berries and fill 
to the brim with cold water. This 
allows two quarts of water to one 
quart of berries. Put the kettle on 
the range and let it boil steadily four 
hours — actually boil, remember — and 
whenever the water gets three inches 
below the brim fill it up with hot water. 
The boiling berries will perfume the 
house with a spicy balsamic odor that 
is delightful. When the four hours 




Fig. 449. — These are the bayberries, 
actual size. 



Making a Bay berry Candle 331 

are up set the kettle back and let the berries simmer for an hour 
or two, then farther back where it will simply keep hot. At night 
take them off the range and set away to cool without removing 
them from the kettle. The cooling down from the boiling point 
to the point where the wax begins to form should be very gradual 
to obtain the best results, therefore the simmering and keeping 
hot after boiling. 

Having put the berries away for the night, try to forget them, 
and do not be tempted to disturb the wax as it forms and floats 
in little cakes on top of the water, for breaking through the gath- 
ering crust will cause much of the wax to sink and cling to the 
berries beneath. When left undisturbed until morning, the wax 
forms into a large cake, hard and ready to be lifted out. 

The Bayberry Wax 

is never, at first, free from impurities, such as bits of dried leaves, 
stems and occasionally whole berries, and it must be strained. 
Break up the wax and put it in a porcelain-lined, shallow sauce- 
pan and set it on the range where it will melt slowly; then strain 
through a fine wire strainer into a shallow bowl or soup-plate. 
Let the wax become quite cold and hard, melt and strain again, 
this time through a piece of cheese-cloth or fine sheer lawn. 
So much for the bayberry wax. But there must also be 

Candle-Moulds 

for making bayberry candles, and not many of us possess these 
old-fashioned treasures. Even if you happen to be one of the 
fortunate few, you will find it takes a great deal of the precious 
wax to fill these old moulds, and the candles made in them are 
really larger than you need; so the home-made candle-moulds 
will be best in any case. 



332 Things for Home, Gift Days and Fairs 



\ \ s Jz inches 



From a sheet of legal- cap writing-paper cut a strip eleven 
and a half inches long and four inches wide (Fig. 450). Take an 
ordinary adamantine half can- 
dle, which is neither tallow 
nor wax, and, placing the 
paper on the table, short 
edge toward you, lay the 

,, j ., j i • Fig. 450. — Cut a strip of paper. 

candle down on it and bring 

the edge of the paper over the candle, as in Fig. 451. Press 

the paper down firmly and roll the candle away from you, in 




Fig. 451. — Bring the edge of the paper over the candle. 



this way wrapping the paper closely around it. If the edges 
are not even, unwrap and try again. To have a perfect moufd 



Making a Bayberry Candle 



333 



you must keep one edge of the paper exactly on a line with the 
bottom edge of the candle. When the paper is wrapped around 
the candle to within one inch 
of the end of the paper, brush 
glue across the end of the paper 
as in Fig. 452. Bring the edge 
over the roll and press down 
(Fig. 453). 

Take another candle of the 
same size, stand it on a piece of 
paper and, with a lead-pencil, 
draw around the bottom edge, 

pressing the pencil point close to the candle. Cut around the 
circle you have made, leaving a border on its edge half an inch 
wide, as in Fig. 454, and slash the border up to the inner circle, 
as in Fig. 455. 




Fig. 452. — Pass a brush dipped in strong 
glue over the end. 





Fig. 454- — Leave a 
border on the edge 
of the circle. 



Fig. 453- — Bring the 
edge over and 
press down. 





Fig. 455— Slash the 
circle. 



Fig. 456. — Lap them 
in regular order. 



334 Things for Home, Gift Days and Fairs 



Draw another circle, this time using the roll with the candle 
in it to mark the size, and cut around it, leaving a border three- 
quarters of an inch wide, then slash the 
border as you did the first. Cover the< 
laps of Fig. 455 with glue, 
set the roll containing the 
candle exactly within the pen- 
ciled circle, and turn up the 
laps, one at a time, lapping 
them over one another in 
regular order, as in Fig. 456. 
Hold the laps in place until 
they are firmly glued to the roll, 
then make a dot with your 
pencil on the bottom exactly 
in the centre of the circle, and 
lay the roll aside for the glue „ 

J b Fig. 458.— Cut two 

to harden while you prepare notches in the top. 
The Candlewicks 




s I % 



Candlewick comes in balls. It is com- 
posed of cotton strands which must be 
braided to make a finished wick. Cut from 
the wick several pieces nine inches long, 
select three strands for each candle, tie them 
Fig. 457.— Braid the wick, together in bunches of threes, and braid, 
as shown in Fig. 457. 
Take the candle from the roll, and in the top edge of the roll 
cut two notches directly opposite each other (Fig. 458), then 
melt the candle and pour it while hot into the mould, empty- 
ing it again directly. This will give the inside a coating of 



Making a Bayberry Candle 



335 



wax which will keeD the paper from absorbing the bavberry 
wax. 

Puncture a small hole through the dot in the bottom of the 
mould and, after waxing the end to stiffen it, thread one of the 
wicks through the hole from the outside. Cut off the knot and 
draw the wick up to within half an inch of the end, then separate 
the strands, spread them out flat and glue them to the bottom 
(Fig. 459). Glue the last disk you made, over the wick on the 

bottom of the mould, arranging the 
laps in order as you did those of 
the first. Be very careful that 
none of the slashes run even the 
shortest distance across the bottom, 
and do not use the moulds until the 
glue is perfectly hard. 
You will need a separate mould for each candle, and when all 
are ready 




Fig. 459- — Glue the wick to the bottom. 



Make a Stand of a Box 

In the bottom of the box, cut three round holes just large enough 
to admit the candle-moulds (Fig. 460). Set the box in a small 
meat -platter to catch any 
spilled wax, and slip three 
moulds into the holes, allow- 
ing them to stand on the 
plate. Draw the wick of 
each up tightly and run a 
long hat pin through all 

three, resting the pin in the notches at the top and bringing each 
wick in the middle of its mould (Fig. 461). If this is done prop- 
erly the wicks will not sag, but will be held taut by the pin. 




Fig. 460. — Cut three holes in the box. 



336 Things for Home, Gift Days and Fairs 





Fig. 462. — Peel off the paper. 



Fig. 461. — Run a hat pin through the wick. 

Break up and 

Melt the Bayberry Wax 

slowly, never allowing it to get hot 
enough to smoke, and fill each mould 
up to the hat pin. In a short time 
the wax will settle and leave a hollow 
at the top of the candle. Fill up the 
hollow each time this occurs until 
the wax remains even across the top. 
Leave the candles in their moulds 
until they are hard and almost, but 
not quite cold, then draw the hat pin 
from the wicks and, taking one mould, 
begin at the top and peel off the 



Making a Bayberry Candle 



337 



paper, carrying it around and 
around spirally, as in Fig. 462. 
Insert the blade of a penknife 
between the bottom of the candle 
and the bottom of the mould, and 
cut around the edge. Remove first 
one layer of the bottom, then the 
other layer, after which you can 
draw the candle from the remainder 
of the mould. 

Cut the bottom end of the wick 
close to the candle, and also trim 
off the top of the wick, making it 
about one inch long above the 
candle (Fig. 463). 




Fig. 463. — The bayberry candle is 
finished. 



CHAPTER XXVIII 



WATER TOYS— LITTLE WAX PEOPLE THAT SWIM AND 
RIDE ON RAFTS 

|HESE little wax people are very fond 
of the water; in fact they are more at 
home and far happier in the water 
than when on land. Some of the wax 
girls and boys will be content to sit on 
the edge of the shore with their feet in 
the water; others will cling with both 
hands to the life-rope and dance up 
and down as the little waves dash upon 
them, though you will find that the 
more daring ones are not satisfied with 
jumping, but will often turn com- 
pletely over while still grasping the rope. 

The Patterns for the Little People 

are given in Figs. 464, 466, 477 and 480. Cut ten girls from 
ten pieces of folded white writing-paper after first tracing the 
lengthwise half of Fig. 464 on half of the paper (Fig. 465). Cut 
ten boys (Fig. 466) from white writing-paper (Fig. 467). Paint 
each girl's hair a different color, varying from light brown to 
raven black, from golden blond to dark auburn. Paint their 

338 




Water Toys 



339 



bathing dresses red, blue, pink, orange, 
brown, green, yellow, purple, striped 
red and white, and spotted blue and 
white. Paint the boys' bathing suits in 
a similar manner; mark the features of 





Fig. 464. — The girl bather. 



Fig. 465. — This is the way to 
cut out the girl. 



both girls and boys in ink, then color face, hands, arms, legs 
and feet pink. Use water-colors, and paint the back as well as 
the front of the dolls. When the paint is dry, take two girls 
and two boys and bend their arms forward at the shoulders; 
bend several dolls in a sitting position; take others and bend 
one leg forward and one backward, as if they were walking, and 
bend the hands together in front on those you wish to dive into 
the water from a height. 



340 Things for Ho?ne, Gift Days and Fairs 




Fig. 466. — The boy bather. 

When all are ready, «* *^SISX£* *" 

Dip Each Doll in Melted Wax 

One-half a wax-candle will be sufficient for the work. 
Be sure that each doll is completely covered on both sides 
with wax, and instead of paper dolls you will have twenty funny 
little wax dolls, the coloring showing distinctly through the wax. 
With a coarse needle and thread make 

A Toy Life Rope 

and string on the thread four dolls with arms bent forward — 
a boy, a girl, a boy and a girl — by piercing the hands of each 
with the needle and drawing the thread through. In this way 
they are made to hold on to the thread rope. 



Water Toys 



341 



Choose a clear, shallow pool or the edge of a pond for 

The Bathing Place 

Tie the thread to a stick, the lower end of which must be fastened 
securely in the ground under water while its top end stands out 
above the water. Hold the loose end of the thread taut in one 
hand as you carefully slide the bathers along the life rope until 




Fig. 468. — The bathers are having fun. 

all stand in shallow water. The life rope reaches from the land 
out into the water. Stir the water and cause the waves to rise 
while you keep the thread moving up and down to make the 
dolls jump and frolic like real bathers (Fig. 468). 

For the Raft 

make fifteen paper lighters of strips of writing paper nine inches 
long and three-quarters of an inch wide (Fig. 469). Begin at 



342 Things for Home, Gift Days and Fairs 



one corner and roll the paper into a long round stick; fold over 
the top to keep the lighter from unrolling (Fig. 470). Dip each 
lighter in melted wax until it is 
completely coated all over; then 
wax two pieces of common string, 
each one a generous half yard in 
length. Tie or cross the centre 
of each string on a waxed lighter 
one inch from each end. Lay this 
lighter on a table in front of and 
parallel to you; place another 
lighter up against the ties, allowing 
one string from each tie to come 
over and one under the second 
lighter (Fig. 471). Cross the two 
lengths of each string over the last 
lighter, bringing the lower string 
up and the upper string down (Fig. 
472); then lay another lighter up 
against the crossed strings, carrying Fig. 470.— a lighter 

. . 1 • t i f° r the raft. 

the strings in turn over this lighter 
(Fig. 473). Again bring the lower string up and 
the upper string down before placing in another 
lighter, and always alternate the large and small 
Fig. 469.— This strip ends of the lighters as in Fig. 474 in order to 
is for the lighter. haye them equally balanced and to avoid bring- 
ing all the small ends on one side 
and the large ends on the other 
side of the raft. Continue crossing 
the strings and adding lighters until 
fourteen are bound into a float; then Fig. 471-— Second lighter is in place. 




Water Toys 



343 





Fig. 472. — Lower string up and upper 
string down. 



Fig- 473- — String crossed and carried 
over third lighter. 



tie the ends of the strings on each line securely together (Fig. 
475), and your work will be ready for the fitting of the little 
mast, which must stand erect at one end of the raft. 



Fig. 474. — Alternate large and small ends of lighters. 




Fig. 475. — Bind the raft together. 



Use the remaining lighter, which is the fifteenth, for the mast; 
flatten out the large end and slide it through the central opening 
or crack of the raft between the seven lighters on each side; then 
bend the flat end of the mast along the under side of the next 



344 Things for Home, Gift Days and Fairs 




Fig. 476. — The raft is launched with lumberman on board. 

lighter, up through the next space, 
over the next lighter and down through 
the forward space. Weaving it over 
and under the lighters of the raft 
keeps the mast firm and steady (Fig. 
476). 

Make a Little Lumberman 

like Fig. 477. Fold a piece of white 
writing paper; trace one-half of the 
lumberman on it (Fig. 478), and cut 
out the figure. When he has been 
painted and waxed, stand him by 
the mast with one arm around it. 
tie" lumberman. Weave his feet in the raft as you 




Water Toys 



345 



wove the mast, and he will stand up as straight as a good soldier 
(Fig. 476). 

Launch the Raft 

on the water; it will dance merrily over 
the waves, and you can have some of the 
other wax children climb up and sit on 
the raft as it goes floating about. Should 
the children tumble off into the water, let 
them swim for a while, for that is what they 
want to do. Then you can help them on 
the raft again or bring 
them to land. 

When the raft is 
riding the waves, the 
four bathers holding 
on the life-line and the 
other wax girls and 
boys playing in the 
sand, wading and div- 
ing in the water, let a 
mermaid come slowly 
swimming through the 
water toward them. 




Fig. 478. — Half of the lum- 
berman. 



Make the Mermaid 

of paper and her flowing tresses, also of 
paper. Mermaids are famous for their 
beautiful hair, which they seem to be 
always combing with a golden comb. Your 
mermaid, though, must be content to swim 
and enjoy herself without the golden comb. 




Fig. 479. — Fold the paper and 
cut like this. 



346 Tilings for Home, Gift Days and Fairs 

Fold a piece of white writing paper; trace the lengthwise 
half of the figure on it (Fig. 479) and cut out the mermaid (Fig. 
480); then cut two pieces of rather long, finely fringed paper 
(Fig. 481) for the hair, and paint them golden brown on both 
sides. Paint the back of the mermaid's head and the hair around 




Fig. 480. — The mermaid. 

her face the same color. Mark the 

features with ink; when dry, color the Kg. 48i.-The mermaid's 

J ' hair in two parts. 

face, arms and body pink; paint the 

remaining part of the figure gray. After the paint has dried 
mark fish scales from the waist down; then glue the straight top 
fringe of hair across the centre of the back of the mermaid's 
head from side to side. Glue the other piece at the extreme 



IVater Toys 



347 



top of the back of the head. After the mermaid is thoroughly- 
dry, bend all of the hair out from her head. Do not allow- 
any of it to lie down flat. Bend the body a little backward in 
a curve from the waist-line, the arms forward; then wax the 




Fig. 482. — The mermaid has flowing tresses. 

mermaid, hair and all (Fig. 482). When the mermaid is in 
the water, the little wax children will make friends with her, 
and she will perhaps tell them fairy stories of the beautiful life 
under the waves. 

These water toys will last a long time if well cared for and 
kept in a cool place where the wax will not melt. 




The Process is Very Simple. 



348 



CHAPTER XXIX 
HOW TO WEAVE WITHOUT A LOOM 

Method Invented by the Author 

UGS, portieres, table covers, bedspreads, 
hammocks, in fact, almost anything that 
can be woven of rags, can be woven with- 
out a loom. Any one can do it, for the 
process is extremely simple and all that is 
required is a board, a paper of tacks and 
some rags cut in strips. These may be 
old rags or new, silk, cotton or wool, 
and the piece may be woven heavy or 
light, in a close weave or a loose one, 
to suit its intended purpose. Many colors or few can be 
used, and the patterns can be as varied as the colors, for any 
design in straight lines can be followed in the weaving. A 
snip of the scissors will cut off one color, a stitch or two insert 
another, and so the pattern grows. It is quick work and you 
will find it very absorbing as you sit amid your vari-colored rags 
and see them grow beneath your fingers into harmoniously col- 
ored hangings or soft, warm rugs. 

A Board 

forty inches long will answer for weaving anything one yard or 
less in width and is of a convenient size to handle. The one- 
yard width is what an ordinary loom produces, but if you would 

349 




350 Things for Home, Gift Days and Fairs 

have your rug or portiere vyider there is no reason why the board 
should not be longer. To prevent the material from catching, 
your board must be smooth on both sides and on the edge and it 
should be as wide as possible. A good-sized pastry board is 
excellent for weaving a piece less than twenty-two inches in 
width. 

Rags are Used 

for both warp and woof; if old and soft they should be more 
tightly packed than when new and firm. The warp is com- 
posed of the strips which run up and down in the work, the woof 
of those that are woven in and out across the warp, and the 
process is like that of weaving a splint basket. The following 
directions are for making 

A Blue and White Cotton Rug 

for bedroom or bathroom. Heavy, new canton flannel is a good 
material for the rug and it is better to have new goods where the 
weave, as in this case, is to be smooth and flat. 

Cut the canton flannel, do not tear it, into strips half an inch 
wide, but do not sew the strips together, and make into balls as 
for loom weaving; piece them as needed while the work pro- 
gresses. Draw a straight line the whole length of the board one 
inch below the top edge, then along this line 

Tack the Warp 

As there is to be a blue border four inches wide, entirely around 
the rug, the warp at first must be all blue. 

Take one strip of the blue and tack it on the line at the upper 
left-hand corner of the board about two inches from the side 
edge. Leave one end of the warp longer than the other and 
drive the tack only part of the way in (Fig. 483). Give the strip 



How to Weave Without a Loom 



351 



two twists toward you, close to the tack, and fasten it down with 
another tack on the line just half an inch from the first tack. 
See Fig. 484. 

Fasten your strips on in this way with the tacks half an inch 

apart and you will have eight 




ends or eight strips of warp 
which will form the side bor- 
der. For the top border cut 
the blue strips into ten-inch 




Fig. 484- 



-Fasten it down with another 
tack. 



Fig. 483. — Tack one strip of blue on the line. 

pieces, twist them at the middle so that the ends will be of an 
even length, and tack them along the line as far as you wish 
the centre to extend; then add the longer strips of warp for the 
other side border, as in Fig. 485. To the ends of the short blue 
warp sew strips of white, lapping the ends with the blue on top. 



352 Things for Home, Gift Days and Fairs 



Sew them securely like Fig. 486 and whip the end edges to make 
them lie perfectly flat. 

This will give a white centre of warp with a blue border at 
the top and sides. Draw each strip of warp down until it is 
smooth and taut and tack it near the 
bottom edge of the board. Be very 
careful to have the warp of the border 





Fig. 485. — This will make a border. 



Fig. 486. — Sew the pieces 
securely. 



and the centre measure the same distance across the bottom as 
across the top and keep each strip in a straight line from the 
top (Fig. 487). Frequent measurements while weaving will 
keep your rug true and prevent narrowing between the two rows 
of tacks. 

When the warp is ready take a strip of blue and begin 

To Weave 

Tack the end of the strip, which is now the warp, a little to 
the left and a trifle below the upper left-hand tack (Fig. 487) 
and, starting under the first strip of warp, weave it in and out 
several times; then draw the warp out its full length as you 
do a needle and thread after taking several stitches. Keep the 
warp flat and even when it is woven and push it up close to the 



How to Weave Without a Loom 



353 



tacks. Weave across in this way, always under one and over 
the next, and drawing out the end of the woof every little while. 
When you have reached the last strip of warp on the right, turn 
the woof over it and weave back again in the same manner (Fig. 
487). 

The woof for this rug is entirely of blue, and as you weave 
across the white warp you will 
find that it makes a blue and 
white checker-board centre. 

When you have woven as 
much as you can between the 
two rows of tacks, take the 
tacks out, 

Move the Woven Part Up 

and tack across again along 
the second or third row of 
woof from the bottom, put- 
ting a tack through the woof 
into each strip of warp; then 
draw the warp down as at 
first and tack in place. Fig. 
488 shows the two rows of 
tacks after the rug has been 
moved up and also the effect 

of the checker-board weaving and blue border. This manner of 
moving up the woven part makes it possible to weave any length 

you may desire. 

Lengthen the Warp 

as you weave by sewing on new pieces, and when the centre is 
almost as long as you want it, cut off the white warp evenly and 




Fig. 487. — Keep the warp perfectly straight. 



354 Things for Home, Gift Days and Fairs 



sew on blue, then weave until the border at the bottom is the 
width of that at the top and sides. Cut off the woof that is left after 

weaving the last row, 
and, turning in the end, 
sew it securely to the 
last row of warp. 

Cut Off the Warp, 

leaving ends about one 
and one-half inches 
long; turn each end of 
the warp over the last 
row of woof and sew 
it down. One end will 
turn on one side of the 
rug, the next on the 
other side, as splints 
turn over the edge in 
binding off a splint 
basket. 

It is best to cut off 
one end of the warp 
and sew it down be- 
fore cutting the next, as this will prevent the woof from slipping 
out of place during the binding off. Tuck each end of the warp 
under the row of woof just above it and sew again. Fig. 489 
shows how this is done. G, H and I are the ends of the warp 
cut off evenly, F is an end turned up and sewed to the bottom 
row of woof. E is an end which is to turn under and be brought 
up on the other side of the rug. D has been turned up, sewed 
to the last row of woof and is just being slipped under the third 




Fig. 488. — After the rug has been moved up. 




Fig. 490. — Rug Woven by the Author. 



3SS 



How to JVeave IVithout a Loom 



357 



row of woof, J. C is turned under and fastened in place on the 
other side of the rug, and B has been turned up, sewed, 
tucked under the third row 
of woof and sewed again. The 
end is shown above the woof 
to make the idea plainer, but 
in reality it should be hidden 
under the woof. 

When the last end of the 
warp has been secured and 
the first end of the woof (Letter I \( 
A, Fig. 487) has been turned 
over and sewed to the warp, 
your rug is finished and will 
look like Fig. 490. This rug 
is photographed from one 
made by the writer on a pastry 
board. Its size is twenty-two 
by thirty-four inches. Three- 
quarters of a yard of white canton flannel and one yard and a 
half of blue were used for weaving. 

To Make a Heavier Rug 

with the flat weave, double the warp. That is, lay one piece 
of warp directly on top of another, giving two thicknesses to each 
strip. A close weave is made by using soft material, tacking the 
strips close together for the warp and pushing the woof up 
tightly, crushing it together as in loom weaving. 

Diamonds, squares and Indian zigzag patterns are easy and 
you can work out others quite original with yourself. 




Fig. 489.- 



-Finish off the end of the rug in 
this way. 




CHAPTER XXX 

HOW TO MAKE YOUR OWN EASTER 
CARDS AND GIFTS 

VERYTHING awakens with new life and re- 
joices on Easter; and the dear old Earth smiles 
with sympathy and brings her offering of sweet 
flowers. It is the day when all people, little 
and big, young and old, should be filled with joy, 
because Easter means the Resurrection. It 
means life, light and immortality. It is the blest assurance and 
certainty that love and goodness are the realities of life; far 
more precious are they than the inanimate material things you 
can see and touch. But we can use material things to convey 
to our friends the invisible, wonderful good of love, joy, kindness, 
sympathy, tenderness, and friendship. 

A simple, inexpensive Easter card may carry with it happi- 
ness, for "it is sweet to be remembered," and you can think of 
many designs from which to choose a cheery greeting to send to 
every one. 

Cards Made to Represent Easter Flowers 

are always welcome. Trace Fig. 491 on heavy paper; paint 
the flowers to resemble as nearly as possible the natural blossoms, 
shading the lily lightly and coloring the passion flower in natural 
hues. Paint the violet a light blue purple and its foliage green. 
When dry cut out the design; then bend the card at the dotted 

358 



Easier Cards and Gifts 



359 



lines that each flower may stand erect, sup- 
ported by the blank back piece in tent-like 
fashion. When bent the card will form three 
tents in a row, with the smallest in front, as 
in Fig. 492. 

If you are not able to paint the flowers 
satisfactorily, use any colored, printed flowers 
you happen to have, either the embossed ones 
that come for scrap books, or those cut from 
colored advertisements or newspapers. Select 
three different blossoms or groups of flowers 
and, taking the largest first, lay it down flat 
on a strip of stiff paper with the stems or lower 
part toward the edge of the paper; then run 
a pencil line entirely around the edge of the 
flower; this will give a blank enclosed by the 
outline of the flower. Place the same blossom 
on the paper again, being sure to bring the 
top of the flower to meet the top of the out- 




Fig. 492. — The Easter flower card. 



Fig. 491. — Pattern of 
standing flower card. 



360 Things for Home, Gift Days and Fairs 



line flower, in order that the two parts may fit; then make a 
second tracing. Examine the lily in Fig. 491 and you will under- 
stand more clearly. Unless the two flower tops meet, one side 
of the flower tent will be upside down. 

Place the middle-sized blossom on the paper with the lower 
part next to the lower portion of the first and largest flower, in 
the same way that the back support- of the passion flower meets 
the lily stems in Fig. 491. Trace this twice as you did the first 
design. The last and smallest flower must be traced in like man- 
ner. Notice in Fig. 491 that the leaves of the violet meet the 
lower part of the passion flower, while the blossom of the violet 
meets the outline of the blossom. 

When you comprehend the principle the work will be very 
easy. Paste each bright blossom immediately in front of its 
back support; then cut out the entire long card and bend it into 
three tents which will enable the flowers to stand up and look 
very attractive. These floral cards may be folded and brought 
together in flat layers, to be sent by mail without danger of injury. 



^ 



Fig. 493. — One half of the 
cross. 



The Cross 
is a most appropriate 
design for Easter. You 
can make one of card- 
board which will stand 
alone. Cut Figs. 493 and 
494 from stiff paper, and 
make the slit down 
through the top of one 
and up through the bot- 
tom of the other; then 
slide the two crosses 



Fig. 494- — The other half 
of the cross. 



Easier Cards and Gifts 



361 



together by placing Fig. 493 at right angles 
down through the top of Fig. 494, adjust the 
two pieces and your cross will resemble Fig. 
495. The card may be closed flat by turning 
the two crosses until they lie closely against 
each other. You can decorate this double 
cross by painting or pasting flowers on it, or 
lettering it with the words, "Easter Greeting." 
Another new design is 

The Tulip Bud 

(Fig. 496). This you can open at will and 

make it 
bio ssom. 



pa 







Fig. 495- — Put the two 
halves together in 
this way. 



Fig. 496.— The tulip bud. 



Open it still further and the 
petals appear as if ready to 
fall, as in Fig. 497. Cut Fig. 
498 of white paper and paint 
it to resemble a tulip petal; 
make five more petals, then 
trace Fig. 499 on a piece of 
cardboard, fit the six petals 
together and place them on 
top of the tulip stem (Fig. 
499). Hold the petals firmly 
in position while you run a. 
coarse needle and thread 
through the petals and card- 
board back in order to fasten 
the flowers on the stem. Knot 
the thread on the outside of 



362 Things for Home, Gift Days and Fairs 




Fig. 497. — The open flower. 



the petals and also on the 
wrong side of the pasteboard 
card. Fig. 500 shows the knot 
on the lower portion of the 
petals. Draw the thread tight 
to keep the petals firmly in 
place. Paint the stem and 
leaves green and paste a small 
round piece of paper over each 
of the knots which fasten the 
flower on its stem as shown 
in Fig. 501. When the bit 
of paper is painted it will 
never be noticed. 

You can use this idea with 
another flower if you do not 
understand painting in water 
colors. 






Fig. 500. — The knot in the 
petal. 




o 



Fig. 498. — The tulip 
petal. 



Fig. 499. — Tulip stem and 
leaves. 



Fig. 501. — Paste paper over 
the knots. 



Easter Cards and Gifts 



363 



The Dainty Bloodroot 

wildflower blossom is pure white and you can cut the petals of 
white paper, and fasten the flowers on gray-green cardboard. 
Paste the stem securely down and sew the petals in place in the 
same manner as those of the tulip. The bloodroot will look 
especially pretty when you move the petals and cause the snowy 
flowers to open. 

One of the most beautiful of manufactured Easter eggs was 
the one presented to an Infanta of Spain some years ago. The 
Gospel of Easter day was inscribed on the inside of the white 
enamelled shell, and when a secret spring was touched a little 
bird would fly out and sing. It was said to have cost four 
thousand dollars. We can make an 



Easter Egg Card 

that will give almost, if not quite as much pleasure, for not more 
than four cents. This will be of pasteboard and will fold flat 
like the cross, but when opened a little chicken will sit up on 





Fig. 502. — Half of the egg. 



Fig. 503. — The other half of the 
egg. 



364 Things for Home, Gift Days and Fairs 



the inside with its beak wide open and its wings lifted as if ready 
to sing its little chickie song. More than that, our egg will stand 
firmly on one end as Christopher Columbus made his famous 
egg stand. 

Trace Figs. 502, 503 and 504. Slide the first egg (Fig. 502) 
in at right angles through the second (Fig. 503); fit the slits into 
each other. Paint the chicken (Fig. 
504) a soft light yellow, and when 
dry make the markings with ink; then 





Fig. 504- — The outline of 
the chicken. 



Fig. 505. — The little chicken will 
sit up on the inside. 



slide the slit at the feet of the chicken diagonally over the 
lower cross portion of the two eggs and you will have Fig. 505. 
In Jerusalem the 



Easter Bells 

ring out at precisely nine o'clock in the morning, telling the 
people that the religious ceremony of the washing of the feet is 
about to take place in the large court just outside the Church of 
the Holy Sepulchre. On Easter morning in our own land the 
church bells ring out joyously; and the gladdened note seems to 



Easter Cards and Gifts 



365 



be given unconsciously by the bell ringer, some of his Easter 

joy having entered into his work. 

Our Easter card of bells is fashioned after the old Spanish 
style of architecture, in which the church 
bells are often seen suspended in open 
alcoves which are built up flat above the 
body of the church. Copy Fig. 506 on 
cardboard and cut it out. Make three 
bells like Fig. 507 and fasten one on each 
of the three round dots on the church 
belfry (Fig. 506). Sew the bells in place 
as you did the tulip petals, but in this 
case allow the thread to be a trifle looser 




Fig. 506. — Cut this out of card- 
board. 





Fig. 507. — Make three of 
these bells. 



I NG- THE. JOYOUS " 
EASTER BELLS 



Fig. 508. — The Easter bell card. 



366 Things for Home, Gift Days and. Fairs 



that the bells may sway back and forth, as if ringing, when you 
move the card. Cut up the slit through the centre of the stand of 
the card and crease along the dotted line, bending half of the 
stand forward and the other half backward. This will give a 

good platform and the card will 
stand alone (Fig. 508). Make the 
belfry (Fig. 506) of a warm gray- 
colored cardboard and gild the cross 
and bells. When dry indicate a 
slight shading with pen and ink. 

Here are some original Easter 
toys to be used as small gifts or 
novel dinner cards. 

Let the Comical Little Turtle 

be the first you make. 

Draw on heavy writing paper 
Fig. 509. Cut it out, and from 
white tissue paper make two strips 
like Fig. 510. Paint eyes and 
mouth on the head and mark the 
feet ; then with strong glue or seal- 
ing wax cover the edges of an egg-shell cut lengthwise and place 
it on Fig. 509; next fasten a strip of tissue paper (Fig. 510) 
along the side of the turtle between the fore and 
hind foot, making the strip reach partly on the 
egg-shell and partly underneath on the writing 
paper; this is to make the egg-shell and the heavy 
writing-paper adhere more firmly together. 
Fasten the remaining strip on the other side of 

L Fig. 510. — Two tissue 

the turtle in the same way, bend the head up paper strips. 




Fig. 500. — The turtle without his shell. 



Easier Cards and Gifts 



367 




Fig. Si i. — Just like a real turtle. 



a little and the tail down, also bend all the feet down and the 
result will be a queer little Easter turtle able to stand alone 

(Fig- 5"). 

Now for the Funny Little Pig 

(Fig. 512). Select a good- sized white egg and blow out its con- 
tents in this way : carefully bore a hole at each end of the egg, 
enlarging them only sufficiently to enable you to send its con- 
tents out of one end by blowing in the hole at the other end of 
the egg; this done, cut from strong, stiff paper or cardboard dia- 




Fig. 512. — Such a ridiculous little pig. 



OulD 

Fig. 513. — Pig- 
gie's tail. 



368 Things for Home, Gift Days and Fairs 



gram, Fig. 513, the tail; Fig. 514, the fore leg; Fig. 515, the hind 
leg; Fig. 516, the ear. Make two ears, two fore and two hind 
legs. Mark eyes, nose, and mouth on the small end of the 






Fig. 514. — Piggie's fore 
leg. 



Fig. 51S. — Piggie's 
hind leg. 



Fig. 516. — Piggie's ear. 



shell ; curl the tail with a penknife or scissors and glue it on the 
pig by spreading out the slits and fastening them on the back 
of the pig; then in turn glue in place the legs and ears and be- 
hold! the pig (Fig. 512). 

The Spoon 

(Fig. 517) requires a lengthwise half of an egg-shell, a piece of 
stiff cardboard and a bit of plain white tissue paper for its manu- 




;Fig. 517. — An egg-shell spoon. 



Easter Cards and Gifts 



369 



facture. Cut the edges of half a shell evenly all around with a 
pair of sharp scissors, being careful not to crack the shell during 
the operation; then cut the handle from cardboard (Fig. 518). 
Glue and attach the handle with sealing wax on the 
outside of the small end of the shell, bending the 



Fig. 518. — Cut the handle from cardboard. 




Fig. 5i9. — The 
tissue paper 
fastening. 



handle down a little where it joins the shell, secure the handle 
still more tightly in place by fastening a piece of tissue paper 
(Fig. 519) over that portion of the handle which is glued to the 
egg-shell, allowing the tissue paper to extend out a little beyond 
either side of the handle and fasten 
the extensions tight down on. the 
shell. When finished the spoon can 
be gilded along its edges or other- 
wise ornamented (Fig. 517). 



An Umbrella 




made of half an egg-shell would 
protect us from the rain if only it 
were large enough, but such an 
umbrella is a good size for your 
purpose, because you desire an odd 
little toy and here it is (Fig. 520). 
To make the umbrella, cut from 
paper (Fig. 521), fold it together as 
in Fig. 522, turn down and outward 
the upper flaps; then glue the two 



Fig. 520. — A little umbrella. 



370 Things for Home, Gift Days and Fairs 

sides of the folded handle tightly together; next fasten the spread- 
out flaps down on the inside centre of half an egg-shell with 
sealing wax; be sure to make the handle come in the middle of 



r 




e-jAy 



Fig. 521. — Cut the umbrella handle like this. 



Fig. 522. — Fold the handle in this way. 



the shell, otherwise the umbrella will lop over a little to one side. 
The rim and handle may be painted brown or black, and lines 
to represent the seams of a real umbrella can be made on the 
outer surface of the shell. 

The Doll's Chair 

is not difficult to make. Cut Fig. 523 from medium-weight 
paper, not too heavy, ornament it as in Fig. 524 or in any other 
way you may fancy, then take half an egg-shell and glue the 



Easter Cards and Gifts 371 

chair seat over the open end with melted sealing wax, bend the 
back in an upright position and allow the slit edges of the seat 
to be bent down on the egg-shell and fasten in place. The 
bottom of the shell must be levelled off a little and the hole cov- 





Fig. 523. — The back and Fig. 524- — Dolly's 

seat of Dolly's chair. chair. 

ered with a piece of paper, in order to make the chair stand up 
as it should. If tinted paper be used in making this toy it en- 
hances the appearance, though the colored paper is not necessary, 
as white ornamented makes a very pretty little chair. 

Strawberry 

The strawberry is in reality a candy box. Take a fine-looking 
egg and blow out its contents, then dye or paint it red and with 
black ink mark the dots as in Fig. 525. Next fill the egg-shell 
with small candies and cover the opening at the top with a piece 
of green tissue paper cut like Fig. 526. Fasten the paper on the 
shell with paste used sparingly and only where it is necessary. 
On the top of the strawberry glue a bow of narrow green ribbon 



372 Things for Home, Gift Days and Fairs 





Fig. 53S-— The egg- 
shell strawberry. 



Fig. 526. — Paste this on top of the 
strawberries. 



and the candy box will be finished and ready for a unique Easter 
gift. 

A Little Hanging Basket 

can be fashioned from half an egg-shell with narrow ribbon 
pasted over its edge, a bow of the ribbon on the bottom and two 

more at the sides covering the ends, of 
a loop of the same narrow ribbon 
securely glued on the shell (Fig. 527). 

The Doll's Cradle 

(Fig. 528) is made by breaking the 
egg in the desired shape, first drawing 
a line with pencil, so that it may be 





Fig. 527.— A little hanging basket. 



Fig. 528. — Dolly's cradle. 



Easter Cards and Gifts 



373 



correct, then piercing the pencil line with a fine needle. The 
wee cradle thus formed is pasted on rockers made of stiff paper 
and bent down at each end (Fig. 529). 





^^^s^ 




Fig. 529. — Cut the rockers by this 
pattern. 



Fig. 530. — An egg-shell bird's nest. 



Bird's Nest 

The bird's nest is simply half of an egg-shell, the outside 
covered first with a thin coat of glue and then with moss. This 
is to be filled with candy eggs (Fig. 530). 

Sail Boat 

The egg-shell boat will sail 
very prettily in a basin of 
water. It is half of a shell, 
with a tissue-paper sail (Fig. 
531), the mast cut of stiff 
paper (Fig. 532), folded at the 
dotted line. Fig. 533 is the 
sail cut from colored or white 
tissue paper. The straight 
edge of the sail is placed in 
the fold of the mast and the 
Fig. 531.— The little sail boat. two halves of the mast pasted 




374 Things for Home, Gift Days and Fairs 



together down to the cross line at the bottom. This lower part 
is slit up, as in diagram 532, and the flaps bent in opposite direc- 



1 




Fig. 532. — Make 


Fig. 533- — A tissue 


Fig. 534- — The 


the mast of stiff 


paper sail. 


pennant. 


paper. 







tion. These are used for braces in holding the mast upright 
and are glued to the bottom of the boat. The pennant (Fig. 534) 
is cut of bright-colored tissue paper, and fas- 
tened on the top of the sail (Fig. 531). 
Fig. 535 represents the head of 

The Mikado 

fashioned from an egg. The egg must first 
be pierced at both ends, and the contents 
blown out, leaving the hollow shell; then a 
face, as nearly as possible resembling the Mi- 
kado, painted on the egg. A narrow strip of 
black paper (that encasing needles will answer 
the purpose) must be pasted on the back of 
the Mikado. the head, and made to stand erect with the 




Easter Cards and Gifts 



375 



top end curled forward as in Fig. 535; the egg should then be 
painted black, except the face, as seen in the picture. The head 
must be made to stand in the same manner 
that Columbus made his egg stand, by 
levelling off a portion of the end. 

To Make the Pin-Cushion 

(Fig. 536), cut two pieces of satin or silk 
of any desired color by pattern (Fig. 537); 
sew the two pieces together, leaving a small 
opening; fill the bag with bran, sew up the 
opening, and tie around the egg cushion a 
narrow ribbon 
matching the 
color of the 
cushion, making 
a fancy bow at 
one end, and a 
bow and loops 
at the other. 
Place in pins to 

form the word "Easter" (Fig. 536). 
Fig. 538 shows the head of 

Napoleon, 
Fig. 536.-The Easter egg and fl^ you may not be behind the times 

pin-cushion. J J 

in your hero worship, I am going to tell 
how you may make a little Napoleon for yourself. At least you 
may make a Napoleon head, and Napoleon's head was really 
the greatest part of him; his heart, I fear, was not so great, and 
his body, we know, was insignificant. 





Fig. 537- — Cut the pin-cushion by 
this pattern. 



376 Things for Home, Gift Days and Fairs 

Use a goose egg for the head; the dimensions given for the 
hat are intended for a large egg. Blow the egg from the shell 
in the manner described. Make the largest hole in the small end 
of the shell and enlarge this hole to the size of a silver dime. 

Now, Napoleon had what is called a well-balanced head. 
That was one cause of his greatness; it could not be upset by- 




Fig. 538. — Napoleon. 

anything that went on around him. So, to make a head that will 
bear the stamp of Napoleon's character, we must contrive to 
have it keep its position, or balance; to stand erect, unaided and 
alone, and it can be done in this way: 

When the egg has been blown from the shell place the shell in 
a perfectly upright position, large end down, in an egg-cup, or 
anything that will hold it steady. Into the large hole pour a 
little melted sealing wax, and on top of that pour a little melted 



Easter Cards and Gifts 



311 




Fig. 539. — Napoleon's face. 



lead, or some pieces of shot, 

taking care to have the weight 

fall directly in the centre to make 

a perfect balance. 

Fig. 539 is Napoleon's face, 

which you must draw on one 

side of the egg with black ink. 

Ink the hair black. Blacken 

the shell on the other side, too, 

for the hair on the back of the 

head. In drawing the face on 

the shell remember that the 

largest end of the shell is the chin, the smallest end the top 

of the head. To be sure, the real Napoleon never had a hole 

in the top of his head that we ever heard of, but the hole in the 

top of our Napoleon's 
head will not show 
when his hat is on, 
and as the hat is to be 
glued in place no one 
will ever be any the 
wiser. 

To make the hat, or 

"Chapeau Bras," 

as Napoleon would 
have called it, and 
which means a mili- 
tary cocked hat, you 
must have some black 
Fi& . paper. For the brim a 




378 Things for Home, Gift Days and Fairs 



piece five inches square will be needed, as it measures just that 
many inches from front to back and from side to side. Cut out 
the brim from pattern (Fig. 540). Cut the hole near the centre 
and cut the slits around it as shown by the heavy lines. Bend 
up the little strips or laps, as denoted by the dotted line around 
the hole. The other dotted lines show where the brim is to be 
turned up front and back, but the crown must be glued on first. 

Fig. 541 is the pattern of the 
crown. From front to back it meas- 
ures three inches; from side to side, 
at its widest part, three and a quarter 
inches; at the narrowest part the 
measure is two inches. The heavy 
line shows where it is to be cut, the 
dotted line where it is to be folded. 
Turn in the laps at the sides, bring 
them together and paste neatly. Fit 
the crown on the brim, over the laps 
of the brim, and paste the laps of the brim to the inside of the 
crown. Turn up the brim according to the dotted lines on Fig. 
540. At the points shown by the crosses on the front of the 
brim put a drop of paste and bring them up to meet the crosses 
on the crown of the chapeau. Place Napoleon's chapeau on 
Napoleon's head as in Fig. 538, and glue it to the shell. Now set 
the little hero before you on the table, touch him with your 
finger, and, if the weight has been well placed, he will nod and 
bow, but his head will always regain its level position. 

Hero though he is, Napoleon is the better for a companion, 
and we will give him his first wife, Josephine, whom he crowned 
Empress of France on December 2, 1805, the day of his own 
coronation. 




Fig. 541. 



Easter Cards and Gifts 



379 



To express in a measure the regal dignity of 
Josephine 

on that occasion, her head must also be held erect ; prepare the 
shell, therefore, as you did the one for Napoleon's head, with this 




Fig. 542. — Josephine's face. 



Fig. 543- 



difference — place the weight in the small end of the egg-shell, 
instead of the large end. 

Draw Josephine's queenly countenance (Fig. 542) on the 
egg-shell, placing her chin at the small end. Make her tiara of 
gold paper, which you can spangle, if you like, to represent 
the diamonds of which it was composed. Fig. 543 shows how 
to cut it. Fig. 544 is the pattern for her crown and should also 




Crown o\ Empress Josephine 
Fig. 544- 



380 l^hings for Home, Gift Days and Fairs 

be made of gold paper. Paste the two ends of the band of the 
crown together to form a circle, then draw the ends of the arches 




Fig- 545- — The Empress Josephine. 



together to meet in the middle, over the top. Fasten these to- 
gether with needle and thread on which a small glass bead has 
been strung. The bead will hide the stitches and also take the 




place of the small cross which occupies that position on the crown 
of the real Empress. With your finger curve the arches out as 
shown in the sketch of the finished head (Fig. 545). 



Easter Cards and Gifts 381 

The crown and tiara are not fastened together, but are placed 
on separately, for Josephine wore the diamond tiara when she 
was crowned. Glue the tiara to the head first, bringing the ends 
around to meet rather low down at the back; then set the crown 
back of the tiara and glue in place. 

From a piece of white tissue paper cut a ruff, after pattern 
(Fig. 546); crimp the rufT with the blade of a knife or scissors 
and glue to the back and sides of Josephine's head. 

These little heads will be very amusing if you place them 
opposite each other and set them nodding and bowing, Josephine 
to Napoleon and Napoleon to Josephine. 

The materials used for the 

Good-morning Chick 

are simply an egg-shell, a piece of wire, some light-yellow worsted, 
two black beads and a small piece of writing paper. 






Fig. 547. — Cut off the small Fig. 548. — The chicken's Fig. 549. — Wrap the rings 

end. head. with worsted. 

Select a nice large egg, and with a sharp knife cut off the 
small end, as evenly as possible, Fig. 547. After emptying 
the shell rinse it carefully, and while it is drying make the 
chicken's head (Fig. 548) ; cut from a light quality of cardboard 



382 Things for Home, Gift Days and Fairs 



two rings like Fig. 549, place them together, and with the worsted 
wrap the rings over and over, as shown in Fig. 549, until the hole 
in the centre is nearly filled up; then, holding it firmly between 
the forefinger and thumb, insert the point of a pair of sharp 
scissors in the outer edge, slipping it between the two rings; cut 





Fig. 550. — The upper 
part of the beak. 



Fig. 55 1 —The lower 
part of the beak. 



IFig/552. — The 
beak. 



the worsted all the way around, and, still holding it firmly, slide 
a piece of strong thread between the rings, and, drawing it around 
once, tie tightly. Take the rings from the ball thus made, and 
clip and trim it perfectly round. Sew the two round black beads 





Fig. 554-— The foot. 



Fig. 555- — Good-morning. 



on the head for eyes ; make the beak of writing paper after Figs. 
550 and 551. Fig. 550 is the upper, Fig. 551 the lower part of 
beak. Pinch into shape as shown by dotted lines; and with a 
little mucilage stick the upper end of Fig. 551 to the underside 



Easter Cards and Gifts 



383 



of Fig. 550, as in Fig. 552. Paint the beak a light yellow, and 
gum to the head. Fig. 548 shows the head complete. 

Holes must now be made in the shell for the legs to come 
through, as shown in Fig. 547. This is done by boring care- 
fully with a large, sharp-pointed needle (being cautious not to 
crack the shell in the process), until the holes are large enough 
to admit the wire. Use a piece of ordinary black hat-wire, four 




Fig. 556. — Run a line of per- 
forations around the shell. 




Fig. 557- — Fasten the shells together. 



inches long, for the legs, bend in the shape of Fig. 553 and slip 
through the holes in the shell. Cut a piece of wire two inches 
long, and another one inch in length, for the foot; bend in the 
shape of Fig. 554 and fasten to the leg by wrapping tightly with 
black linen thread. 

Fit the head in the hole left in the small end of the shell, and 
if the work has been well done the chicken will look very natural 
indeed. The small piece of shell taken from the end will give 
it a still more cunning appearance if fastened on the chicken's 
head (Fig. 555). This little trifle makes a very pretty bon- 
bonniere, as the shell is quite strong enough to hold candy, and 
the head may be removed to allow of its being filled or emptied. 

To make the 



384 Things for Home, Gift Days and Fairs 



Good-night Chick 

first blow the egg, then, boring with a needle in the manner 
previously described, run a line of perforations lengthwise around 
the shell, as seen in Fig. 556. This will allow of the shells being 

opened quite evenly. 
Cover the edges neatly 
with lutestring ribbon 
pasted down on both 
sides like a binding. 
Paste a piece of the same 
ribbon, twelve inches 
long, across the two 
halves of the shell, to 
connect them, as in Fig. 
557. Make the little 
chicken, which should 
nestle coseyly within the 
shell, of two worsted 
balls, using rings two 
inches in diameter for 
the body. Trim the body 
into a slightly oval shape. 
The chicken's head is 
made in the same way 
as described for "Good 
Morning." Glue it to 
the body. In the illustration (Fig. 558) the egg is shown both 
closed and open, which will give some idea of what a pretty little 
gift it really makes. The entire chicken must be glued in the 
shell as it is not intended to come out. 




Fig- 558. — Nestle the chicken coseyly in the shell. 



CHAPTER XXXI 

HOMEMADE CANDLESTICKS 

F you are working in clay try making 
a few candlesticks. If you haven't 
the clay, why not get some at once 
and begin this most fascinating work? 
Candlesticks are always decorative; 
even the old tin candlestick with its 
half burnt tallow candle has a certain 
picturesqueness that the artist recog- 
nizes when he chooses that as an 
accessory to his picture instead of the 
prosaic oil lamp. Then again, candlesticks give a wide scope to 
individuality in design, and that it gives expression to one's 
originality is one of the greatest charms of pottery making. 

A potter's wheel is not at all necessary. The primitive 
method of coiling the clay and gradually, without hurry, building 
it up into the form desired is far the better way for home workers. 




Get Your Clay 

at the nearest pottery where anything finer than flower pots is 
made, and if it is a place where they turn out only earthenware 
ask for their finest clay. Very frequently they make a quantity 

385 



386 Things for Home, Gift Days and Fairs 

of extra pieces for holiday trade and for these prepare a finer 
clay than they ordinarily use. Fifty pounds of clay will keep 
you busy a long while and twenty-five pounds will be sufficient 
for a number of small pieces. It sells at about one and a half 
cents per pound at most of the potteries. 

Break your dry clay into small pieces with a hammer and 
then pound to a powder. Put it into an earthen crock that has 
a cover of its own, and mix with water until it is of the consis- 
tency of dough. If you are not to use it immediately, and it is 
rather stiff, make several holes in the clay with your finger, fill 
each hole with water, cover the crock closely with its lid and set 
away until wanted. 

When you are 

Ready for Work 

take out a good sized lump of clay, put it on a pastry board and 
knead it like bread. This is to work out all the air and make 

the grain close and 
fine. If the clay seems 
too stiff spread it out 
in a flat cake, pour a 
little water in the mid- 
dle, bring the edges 
together and knead 
again until the whole 
piece is softened. 
When the clay is too 

Fig. 559- — Cut the clay in two with a knife. . . . , 

soft spread it out and 
put it in the air where it will soon stiffen. If it is freezing out 
of doors do not expose the clay but let it dry off in the house. 
From time to time, while you are working ' clay, cut the lump 
in two with a palette knife or ordin~~ .e (A, B, Fig. 559). 





Homemade Candlesticks 387 

Put the outside edges 
together (C, D, Fig. 
560) and continue 
kneading. " The pro- 
fessional potter has 
a wire strung above 
his table and on it 
cuts his clay quickly 

and neatly in half, Fig. 560.— Put the outside edges together. 

but a knife will answer very well. You may have a number of 

Modelling Tools 
or a few, and you can do very well with two or three contrived 
by yourself. A wire tool like Fig. 561 is useful in cutting away 
the clay when the walls of a piece are too thick, but a wire hair- 
pin answers the purpose al- 
most as well. A wooden 
Z^ skewer, used by butchers for 
pinning meat, is also good 
for some purposes. In my 
own work one summer, when far out of reach of modelling 
tools, I found use for a palette knife, the handle of an old spoon, 
a hairpin and a steel ink eraser with a curved blade. But best 
of all and most to be depended upon are the fingers, for these 
sensitive, flexible, natural tools can perform most of the work 
alone. Fig. 562 is a small jar made entirely with the hands, no 
tool of any kind, save the fingers, having been used in the 
modelling. You should have a good 

Strong Table, 
one you have no fear of harming, and that stands firmly and 
evenly on the floor; a piece of smooth, rather thick board about 




Fig. 561. — Useful in cutting the clay. 



388 Things for Home, Gift Days and Fairs 

ten inches square upon which to build your pottery and a small 
pastry board. Place the table near a window where there is 
plenty of light and under it lay a piece of oilcloth to protect the 
floor; thus prepared you may plunge into your work and ac- 
complish wonders without disturbing the general order of the 
room. At a convenient place on the table set a small bowl of 
water and a cup of slip. The slip is simply clay softened in 
water until it is about as thick as cream. A large piece of old 
muslin, that you can tear in pieces as needed, should always be 
at hand, and a wet sponge on which to wipe your fingers. 

Place your pastry board on the table and when the clay is 
kneaded lay it to one side and scrape the board, clearing off all 
dried particles. Unless this precaution is taken crumbs of dry 
clay are apt to mix with the moist clay and make it rough and 
gritty. 

Figs. 563, 564 and 565 are three original designs in candle- 
sticks. We will take one of these for a model. Fig. 563 is the 
simplest and most easily made, so we will begin with that. 

Have ready a rather deep 

China Saucer, 

tear off a square of muslin large enough to cover the inside of 
the saucer and to extend over its edge. Dip the muslin in the 
bowl of water and lay it flat in the saucer, pressing it down as 
evenly as possible and smoothing out the air bubbles. 
Now take 

A Large Handful of Clay, 

roll it between your palms, lay it on the pastry board in front of 
you and with an even pressure of your hands roll it back and 
forth until it lengthens out and forms a snake-like piece a little 



Homemade Candlesticks 



389 



more than half an inch in 
diameter (Fig. 566). Do 
not let the roll flatten, 
keep it as round as pos- 
sible and of an equal size 
from end to end, then 
press it with your fingers 
and flatten the top just 
enough to take off its 
roundness. When this is 
done place one end of the 
roll narrow side up ex- 
actly in the centre of the 
saucer and make 




«•<*!*» 



Fig. 566. — Roll the clay back and forth* 



A Close Coil 




Fig. 567. — Make a close coil. 



like Fig. 567, bringing 
the edges of the coils 
together with your 
thumb nail. When 
you have coiled one 
roll make another roll 
and, cutting the end 
of each, like Fig. 568, 
fit them together and 
make a smooth and 
even joint. 

Continue to coil 
the clay until the 
saucer is filled to the 
edge, then build it up 




390 Things for Home, Gift Days and Fairs 

one coil higher on the edge 
and cut the last end of the 
roll as you did the first. Press 
this end down to join the roll 
^ beneath it, making the joint 

-Cut the ends like this. invisible. Now 

Dip Your Fingers in Water 

and rub them gently over the coiled clay in the saucer to smooth 
it, but be careful not to get it too wet and not to lower the coil 
on the edge in the process. If depressions occur fill them with 
fresh clay joining the edges of the new clay to the coiled clay, 
making it one piece with no cracks or seams. In adding clay at 
any time the new piece must always become one with the old, 
else it will crack when dry or in the firing, and it is best to brush 
the place to be filled with slip before adding the clay. Set your 
saucer away at this stage of the work until the clay stiffens a 
little and the piece becomes what is called "set." It is just here 
that you must use patience, for to continue to work while the 
clay is too soft will frequently spoil the whole thing and the only 
remedy is to bunch the clay and begin over again. To be success- 
ful in the making of pottery one's enthusiasm must be of the kind 
that will not cool during the necessary waiting periods. 

When the clay in your saucer has become firm but is still 
quite pliable, dip another square of muslin in water, spread it 
inside the clay saucer and 

Fit in Another Saucer 

of china a trifle smaller than the first. This will give you a pile 
of three saucers one within the other, first china, then clay, then 
china. Now cover your small board with wet muslin and turn 



Homemade Candlesticks 391 

your stack of saucers upside down on the board. Lift off the top 
saucer and you have your clay saucer inverted on top of the 
smaller china saucer. You will find all the seams of the coil 
showing on this underside and must join them and make the 
clay one piece as you did on the inside. With your wire tool 
(Fig. 561) or a hairpin, carefully 

Cut Down the Parts 

that seem too thick, but at the same time beware of making them 
so thin as to weaken the walls of the saucer. It is better to fill 
out and make a piece rather heavy than to try at first to obtain 
the delicacy one naturally desires, for thin walls often collapse 
in unaccustomed hands. As you work, turn the board around 
and around to be sure the contour is symmetrical. It is often a 
good thing to raise the work to the level of the eye in order 
the better to detect inaccuracies of outline. 

When you have finished the underside and the clay seems 
firm enough to stand without support, turn it right side up on 
the board, always with the wet muslin between to keep it from 
sticking. Lift out the small saucer which is still in the clay 
saucer and proceed to remove all traces of the line in the clay 
made by the ridge on the bottom of the china saucer. This can 
be done by smoothing down and adding more clay to make a 
curve instead of an angle. 

With the wooden skewer make a dot in the centre of the clay 
saucer, measuring the distance to be sure it is exact, then take 

A Half Candle, 

wrap it spirally and closely with a narrow strip of wet muslin 
(Fig. 569) and stand it directly over the mark (Fig. 570). Make 
little crossed fines with a sharp tool, or hat pin, around the candle 



392 Things for Home, Gift Days and Fairs 



like Fig. 571; then roll some clay for coiling the candle holder, 
flattening the roll as you did for the saucer. 

Before beginning to coil 
cover the roughened surface 
around the candle with slip, 
then press one sharpened end 
of the clay roll onto the 
saucer close to the candle 



eo--^» 





Fig. 569. — Wrap the candle with a strip 
of wet muslin. 



Fig. 570. 



-Stand the candle in the centre of the 



(Fig. 572) and bring the roll once around the candle. Make crossed 
lines on top of the coil, brush with slip and coil again. Con- 
tinue roughening the top of the coil and covering with slip until 



h 





eoJ-S-j 



Fig. S7i. — Make little crossed lines around Fig. 572. — Press the sharpened end of the 
the candle. roll close to the candle. 



Homemade Candlesticks 



393 




Fig. 573-- 



-Sharpen the end of the roll and join 
it to the top. 



you have built the holder up 
a little over two inches from 
the saucer, then sharpen the 
end of your roll and join 
it to the top (E, Fig. 573). 
With a brush dipped in slip, 
fill up, to some extent the 
creases between the coils and 
make the coil even and round 
where it may have been 
pressed out of shape, for in 
this part we allow the coil 
to show. 

When the walls of the holder are firm enough gently remove 
the candle and 

Smooth the Inside of the Holder 

with a finger wet with slip. If this does not fill up the cracks 
use a rounded tool, but be very careful not to press the holder out 
of shape or enlarge the opening. 

Make the Handle 

of a coil of clay as shown in Fig. 574. First the small coil, join- 
ing the base of the holder to the saucer, then the larger coil which 

connects the small coil, and 
the inside and the outside of 
the saucer. Use your first 
finger for keeping the hole in 
the centre of the large coil the 
proper size. Build up the 
edge of the saucer slantingly 




Fig. 574. — Make the handle of a coil of clay. 



394 Things for Home, Gift Days and Fairs 

to join the inner coil of the handle (F, Fig. 574) and allow a 
ridge to extend from the outer coil a short distance along the 
outside of the saucer (G, Fig. 574). 

This Blending of Decoration with the Article 

itself, making it appear a natural outgrowth from it, is a law of 
beauty in modeled decoration, which should always be kept in 
mind. No part of a piece of pottery should look as if it were 
simply stuck on and might drop off again, but rather as though 
it were a necessary part of the whole. 

When your candlestick is in good shape and still moist, go 
over it with a camel's-hair brush dipped in water, smoothing 
down any little unevenness in this way. Sometimes a coating 
of slip, well worked in with the brush will give a good surface. 
Set the piece away after this and let it stand undisturbed for 
several days, or until the clay has become quite dry and has turned 
almost white, then if it is still imperfect in shape 

Scrape it Down 

with a steel tool or pocket knife. The clay is so easily shaved 
off at this stage the danger lies in making too deep a cut and the 
work should be done gradually and patiently. For the final 
rubbing use a piece of fine emery paper. Even this must be 
carefully handled, for if pressed heavily on the clay it, also, will 
cut too deeply. 

Do not put your work away to dry in the sun or near a fire. 
If dried too rapidly the clay will crack. Sometimes it will crack 
when it dries, never so gradually; it may be from shrinkage or 
because the clay has not been sufficiently kneaded. 

If Cracks Occur 
while the clay is still moist fill in with new clay and slip. If the 
piece is perfectly dry mix some finely powdered baked clay with 



Homemade Candlesticks 395 

water, making a thick paste, and fill the opening. You may be 
able to get the unglazed baked clay at the pottery, but if not put 
a thin cake of clay in any kind of a very hot oven and allow it 
to bake several hours, then grind to a fine powder. Keep this 
powder in a labelled box that it may always be at hand when 
needed. 

It is generally supposed that when a piece of pottery cracks 
in the firing there is no remedy. This is very likely true with 
pieces that have been glazed, but with unglazed ware my own 
experience has proved that it can be mended. When an un- 
glazed piece comes from the firing showing cracks, large or 
small, mix a thin slip of clay with a little finely powdered flint 
and run into the cracks until they are more than filled, then 
rub or scrape off the surplus. This formula was given me by 
a prominent art potter who also furnished the mixture. 

In putting away 

Unfinished Work, 

cover with a damp cloth and keep the cloth damp until you are 
ready to go on with your modeling. Once hard the clay can no 
longer be worked, and unfinished pottery must always be kept 
moist. In the case of a piece having handles, spouts and like 
projections, place something under the cloth to hold it away from 
these parts and prevent its pushing them out of shape. 

You May Glaze Your Candlestick 

with colored glaze before it is fired or you may have it fired and 
returned to you in "the bisque," when it can be glazed and sent 
to be fired the second time. One firing really seems all that is 
necessary for small pieces, however. Fig. 563 was fired but 
once, the glaze having been applied to the unbaked clay and 



396 Things for Home, Gift Days, and Fairs 

it came from the pottery in a perfectly satisfactory condition, 
without crack or blemish. 

The glaze used for all the pottery in the little group in our 
full-page illustration, is Marshing's soft Limoges glaze which 
may be obtained where mineral colors for pottery and china 
painting are sold. The glaze is transparent when fired and is to 
be mixed with color unless the piece has underglaze decoration 
or the clay is colored. The proportion is one part dry color to 
nine parts dry glaze. Both come in powders and must be 
thoroughly mixed, then dissolved in a solution of gum arabic. 
Eight and one-half teaspoonfuls of glaze to one-half teaspoonful 
of underglaze color is sufficient for two candlesticks. Apply this 
with a No. 8 camel's-hair brush and give the piece three coats, 
waiting each time for one coat to become thoroughly dry before 
putting on the next. Lay the color on evenly and do not allow 
little streams of glaze to run over the edges. 

There are various 

Other Methods of Coloring Pottery 

One is to work the dry color into the moist clay by kneading. 
For the little pitcher (Fig. 575) one tablespoonful of raw sienna 
was thoroughly worked into a lump of clay the size of a large 
apple and the pitcher then modelled from the colored clay. Pre- 
pared mineral color was not used, but dry "raw or green" color 
purchased at an ordinary paint shop. When quite dry the 
pitcher turned a beautiful ivory yellow, but became almost 
terra cotta when fired. The uncolored glaze was dissolved in 
gum arabic and applied after the first firing, and the pitcher 
was fired a second time. 

Another way to color your pottery is to mix the raw color with 
slip the consistency of cream and with it paint a design on the 



Homemade Candlesticks 397 

unbaked clay. A little gum arabic added to the slip will make 
it adhere more closely and prevent its rubbing off. This must 
be fired before the uncolored glaze is applied. The little bowl 
(Fig. 576) was decorated in this way and the colors used were 
raw sienna and burnt sienna. But one coat of glaze was given 
the bowl which makes it look more like old Indian ware than 
if it had the very glossy surface. 
Colored pottery 

"In the Bisque" 

or unglazed state is often very beautiful and if designed to hold 
water or liquid of any kind the inside alone may be glazed, 
leaving the outside in its natural dull and porous condition. 

Of the various designs shown here the saucers were used 
only for Fig. 563, and the sooner you are able to discard all such 
aids and depend upon your eye alone to guide vour hands the 
more you will enjoy your work. 

Probably you can have your candlesticks fired at the pottery 
where you get your clay, but if you wish to carry on the work 
and experiment for yourself secure a kiln of your own by all 
means. 




The Light of the Fairy Lamp. 



398 




CHAPTER XXXII 

WHAT TO MAKE OF BANANAS, ORANGES, AND APPLES 

HILE icy blasts are still sweeping 
through the cities of the North, while 
the snow lies deep on the ground, and 
the children, bundled up until little 
except their pink noses is visible, 
are coasting, sleighing, and snowball- 
ing, in the South soft breezes are sifting 
through the green leaves of the trees 
and gently stirring the beautiful flow- 
ers blossoming in the warm sunshine. 
In the orange groves the great golden balls are ripening, and 
on the long-leaved banana trees hang the queer bunches of 
bananas, growing in their funny upside-down fashion. Pine- 
apples, lemons and many other fruits are there, all growing and 
ripening that the children of the North may have them when 
their own delicious strawberries, peaches and plums have gone. 
We are very glad of these Southern fruits, even the skins 
seem too good to throw away. And so they are. 

Save Your Orange, and Banana, and Apple Skins, 

too, and see what delightful things you can make of them. 

Long, long ago, before there were any steamboats, sailboats 
or even rowboats in the British Isles, when men's clothes were 

399 



400 Things for Home, Gift Days and Fairs 



merely the skins of wild beasts tied on with leather thongs, the 
people went on the water in little circular boats called coracles. 
These boats were wickerwork baskets covered with the hides 
of animals and resembled bowls in shape. They were sent skim- 
ming over the water very rapidly by means of a paddle which was 
dipped in first on one side of the boat then on the other. The 
coracles were so small a man easily carried his boat on his back 
to transport it over dry land, looking, one would think, very much 
like a huge turtle walking on its hind legs. 

It is a boat like this most primitive one that you can make of 

Half of an Orange Skin 

It will float, too, and ride safely the roughest waves of the bath-tub 
sea. As it is perfectly water-tight, Miss Dolly need have no fear 
of wetting her dainty skirts as she sits in the bottom of the boat. 




Fig. 577. — Cut an orange exactly 
in half. 



J§3 

Fig. 578. — Carefully remove the pulp. 



Cut an orange exactly in halves like Fig. 577. Slide the 
blade of a penknife around the edge, loosening the pulp from the 
skin, then cut the pulp in quarters 
and remove it piece by piece as in 
Fig. 578. When all is taken out you 
have your little boat (Fig. 579) and 
your orange besides. 

Place the coracle in a basinful of . w g . 579.— The coracle. 




Bananas, Oranges, and Apples 



401 



water, put a small doll in it, stir the water round and round with 
a stick, and watch the boat glide along as swiftly as if its little 
occupant were paddling with all her might. 
From the skin of the banana an almost 

Perfect Canoe 

can be made, which will look very much like those used by the 
Indians at the time when Columbus discovered America. You 
know, of course, that a banana has several ridges on its surface 




Fig. 580. — Make a slit with the point of your knife. 




Fig. 581. — Take out one piece at a time. 

with wide, smooth spaces between and that the stem end curves 
up more decidedly than the other. Along the middle of the 
smooth space which takes the upward curve of the stem you must 
make a slit with the sharp point of your knife, as shown by the 
black line on the banana in Fig. 580. Open the slit carefully, 
cut the banana in small pieces and 

take out one piece at a time (Fig. 581). ' 

Cut the sulphur ends off two - - ----- --■ 

, , ,,-,. s , , ,i t,,i Fig. 582.— Cut the sulphur ends off 

matches (Fig. 582) ana place the little two matches. 



402 Things for Home, Gift Days and Fairs 




Fig. 583-— The little canoe. 

as a seat for the doll-man (Fig. 584). 
canoe and the coracle in the water. 



sticks crosswise in 
the banana skin, one 
near each end, to 
act as braces in 
holding the sides 
apart (Fig. 583) and 
Fig. 584 shows both the 




Fig. 584. — Banana canoe and orange-skin coracle. 



In selecting a banana for the canoe choose a symmetrical or 
even-sided one, that it may not tip but sit squarely on the water. 
In case the banana is not perfect and the canoe does tip 
to one side, place in it a small weight and the balance will be 
regulated, 



Bananas, Oranges, and Apples 



403 



The apple lantern, or 

Fairy Lamp 

(Fig. 585) requires a little more time and patience in its prepara- 
tion than the boats, but it is not difficult to make. Find a rather 
small, perfectly round, red apple with- 
out bruise or blemish. Hold it in 
both hands and gently press it with 
your two thumbs, beginning close to 
the stem and gradually working down 
to the blossom end. Be careful not 
to break the skin, but press and press 
until every part is loosened and the 
apple feels pulpy like a grape — every 
part except the blossom; that holds 
fast because it is attached to the core. 
When no hard spots can be found cut a circle around the stem 
as shown in Fig. 586, and little by little dig out the apple until 
nothing but the skin remains (Fig. 587); then you will find a 




Fig. 585. — The fairy lamp. 




Fig. 586. — Cut a circle around the stem. 



Fig. 587. — The empty skin. 



small lump at the bottom which must be left, since cutting it 
out would result in a hole in the skin. With a pair of sharp 
scissors trim away all unevenness or raggedness that may be found 
on the edge. This will make the opening a trifle larger. 



404 Things for Home, Gift Days and Fairs 



Cut a Slice from an Ordinary Candle 

about half an inch thick (A, Fig. 588) and hollow out the under 
side enough to allow the candle to fit over the lump in the bottom 

of the apple skin (B, Fig. 588). Fit 
the candle in place, and when it is 
lit you will have the prettiest, daintiest 
little fairy lamp imaginable. The 
light shining through the rosy, semi- 
transparent apple skin gives the effect of Bohemian glass and 
casts a red glow all around it. 

The fairy lamp looks very pretty floating in water in a glass 
bowl, and a number of lamps around your birthday cake will 
be a new way of telling how old you are. 




Cut the candle like these. 




CHAPTER XXXIII 

LITTLE PAPER COLUMBUS AND HIS PAPER SHIP 

LACE a chair against one end of the bath 
tub, for Spain, and another chair at the 
other end of the tub for America. If 
the chair seat is lower than the rim of 
the tub, build up with books until the 
top book is as high as the tub ; then fill 
the bathtub more than half full of water 
and pretend it is the Atlantic ocean. Cut 
out two paper dolls, one for King Ferdi- 
nand, the other for Queen Isabella. 
Remember which chair is Spain, and seat the royal couple in 
Spain, on a throne, made of a bent piece of cardboard. Bring 
Columbus before the monarchs and let them bid him God- 
speed; then put Columbus in his ship, the Santa Maria, with a 
number of sailors, and send the vessel sailing off on her voyage of 
discovery. Gently push the boat forward by the projecting spar 
at the stern, and the little craft will sail along like a real ship on 
a real ocean; but you must be careful not to push too hard and 
capsize the vessel. When the boat reaches America, have ready 
on the chair at that end of the bathtub, some wild Indians with 
their wigwams, and let Columbus and his men land, while the 
Indians stand gazing at them in astonishment. 

405 



406 Things for Home, Gift Days and Fairs 



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Fig. 589.— The hull of the Santa Maria. 



Before we make 
the little paper peo- 
ple, let us build 

Columbus' Ship. 

This ship is to be 
as nearly like the 
Santa Maria, the 
real ship in which 
Columbus sailed, as 
is possible to make 
of paper. Cut a 
piece of light- weight 
cardboard fifteen 
and three - fourths 
inches long and 
seven and one-half 
inches wide ; on this 
draw the diagram of 
the boat (Fig. 589), 
making the greatest 
lengths of the dia- 
gram exactly as long 
and the greatest 
widths as wide as 
the cardboard. Find 
the lengthwise cen- 
tre of the cardboard, 
which will be three 
and three - fourths 
inches from each 




Columbus' Ship Made of Paper. 



Columbus and His Paper Ship 407 

long side line, as the cardboard is seven and one-half inches 
wide. Draw a line along the centre from end to end, to guide 
you in making the diagram of the boat; this central line will 
also be the centre of your ship. Commence drawing the bot- 
tom A — A (Fig, 589) at a distance of two and one-fourth inches 
from the end of the cardboard; the bottom must measure seven 
inches from its extreme front point A to the back line A, and 
two and three-eighths inches at its widest point from B to B. 
The point A of the bottom must come on the long central line, 
and the straight back line of the bottom A must be one and 
three-fourths inches across. 

The length of the extension at the back of the boat from C 
to D is three and one-half inches; the deck from D to E, three 
inches. The greatest width of the deck, E, not including the 
two flaps, is two and three-fourth inches, and the narrowest part 
at the line D one inch. The sides of the boat are slashed and 
the last slash or side piece, F, at its greatest height touches the 
edge of the cardboard, while the side pieces G and G, are the 
lowest, and so are the longest distance from the cardboard edge. 
When you have drawn the diagram cut out the little craft. 

Cut along all the heavy lines. Bend the four dotted lines 
of the prow ledge (H, I and H, I) backward. All other dotted 
lines must be bent forward, and care taken to keep the bends 
exactly on the dotted lines. Do not bend the laps enclosed by 
the tiny circles along the sides J, J, J, J, J, J. These circles 
merely show how far the slashed sides lap over each other to 
form the correct shape of the Santa Maria, for you must know 
that Columbus' vessel was very different in build and appear- 
ance from any ships we find at the present time. The prow 
and stern were much higher than the middle of the boat and at 
the top the stern was quite narrow while at the bottom it was 



408 Things for Home, Gift Days and Fairs 



t 



) 



/ 



) 



/ 



wide, making the rear of the ship big at the bot- 
tom and small at the top. 

Now put the little craft together. Bend the sides 
up and fasten each lap on the edge of the next 
side piece with glue or strong, thick paste. Bend 
up the back and paste the three laps of each edge 
over onto the sides, fitting the short laps on the 
section K over the projections L and L of the sides. 

Make the Mizzenmast 
of a paper lighter, ten inches high after the end 
has been bent (Fig. 590). Slide the small end 
of the mast, from beneath, up through 
the hole K in the after deck (Fig. 589). 
The hole should be a tight fit. Paste 
the bent end of the mast flat and 
tight to the bottom of the boat ; bring 
the flaps of the deck down over the 
top of the sides and paste them se- 
curely in place. 

Next bend up the prow, lapping 
the flap O (Fig. 589) over the side 
edge of the prow, O, and the flap P 
over the prow, P. 

Cut the Bowsprit 

(Fig. 591) of cardboard six and one- 
half inches long, split the wide end 
up lengthwise through the centre two 
^^"^ and one-fourth inches, then fold the 
remainder lengthwise through the 
centre according to the dotted lines 



Fig. 590. — This 
Is the mizzen- 
mast. 



L 



Fig. 591. — Cut the 
bowsprit like this. 



Columbus and His Paper Ship 



409 



Fig. 592. Open the split end and place one-half on the inside 
of one side of the prow, and the second half opposite on the 

inside of the other side of 

the prow. Leave these ends 

loose, resting the bowsprit 

in the short opening at the 

centre top of the point of 

the prow, where the two 

short ledges, H and I (Fig. 

589), meet. 





Fig. 593— The for- 
ward deck. 



Make the forward Deck 

of cardboard (Fig. 593) two and one-fourth 
inches long and at its widest part a gen- 
erous one and one- eighth inch. Cut the 
hole N, five-eighths of an inch from the 
wide, straight edge ; then cut a strip five and 
five- eighths inches in length and three- 
fourths of an inch in width, slash as in 
diagram and bend at dotted line (Fig. 594). 
Fig. 592.— The bowsprit is Cut the slit M, and fasten the strip on the 

folded through the centre. i i i , • ,-in .1 r 

deck by pasting the naps over the top of 
the curved edge of the deck (Fig. 595). Slide the flat point 
of the projecting bowsprit through the slit M (Fig. 594), and 



|M 

riTiTirn rmn-rrrrrrn 



Fig- 594- — Slash the strip for the forward deck. 

run a paper lighter foremast, nine and one-half inches long, not 
including the bent end, through the hole N (Fig. 593). Bring 



410 Things for Home, Gifi Days and Fairs 




Fig. 595- — Forward deck. 

H, I, H, I (Fig. 589) 



the deck down over the prow, adjust the 
bowsprit to the inclined height of the bow- 
sprit in the illustration and paste the two 
split halves of the end of the bowsprit on 
each side of the inside of the prow. Fasten 
the foremast tight on the bottom of the 
boat and paste the deck on the ledges, 
Make a 

Deck-Fence 



for the stern of a piece of paper seven and one-half inches long 
and one inch wide. Cut it in a fringe with every other short 
strip of the fringe cut out like Fig. 596. Paste the loose fringe 



miiffli 



u u 

Fig. 596. — The deck fence. 



Fig- 597- — Strip for bottom of fence. 

ends along the three outside top edges of the alter deck, allow- 
ing the solid border of the fringe to form the fence rail. See 
illustration. Cover the lower ends of the fence when they are 
pasted to the deck with a band of paper seven and one-half 
inches long and three-eighths of an inch wide (Fig. 597). 

Make a Spar 

for the stern of the boat as you made the bowsprit Fig. 592, 
only the spar should be shorter, extending beyond the stern of 
the boat about two inches. Slide the large end of the spar through 




Columbus and His Paper Ship 411 

the opening in the deck at E (Fig. 589) and rest the split ends 
on each side of the mast. 

For the Mainmast 

at the centre of the boat make another paper lighter eleven 
inches high. Do not bend the end, but paste the bottom lapped 
edges together and run the mast through a com- 
mon wooden spool (Fig. 598). Glue the spool 
tight on the bottom of the boat, a trifle for- 
ward of the centre, and your ship is ready for 
the sails, as you can see from the picture. 

The illustration shows little paper Columbus 

the mainmast with i n his red cloak and cap, standing on the stern 

as P° oL of his vessel, one of the sailors in the centre, 

and a wild Indian peeping over the side of the boat. We must 

make our 

Santa Maria Watertight 

before the sails are set. Melt half of a wax candle in a tin piepan 
and set the ship down into the melted hot wax to cover the bot- 
tom thoroughly. Use a teaspoon for pouring the liquid wax 
over all sides, about one inch up from the bottom of the 
boat. This bath of wax should render your ship perfectly water- 
tight, but test the little craft on water to make sure that it does 
not leak. 

Cut the Sails 

of very light-weight writing-paper, the top edge straight, side 
edges slanting, and bottom edge curved inward. Make the 
greatest height of the foresail for the bow four inches, the width 
three and one-half inches. With the scissors point, punch two 
small holes in this foresail, one in the middle at the top and one 



412 Things for Home, Gift Days and Fairs 




in the middle at the bottom. En- 
large the holes slightly by inserting 
the point of a lead pencil and 
twisting the pencil gently around 
(Fig. 599). Remember that all 
holes for the masts to run through 
must be made rather small, to pre- 
vent the sails from sliding too far 
down the masts. Bend the top 
and bottom of the sails together to 
curve the paper, that the sails may 
Fig. S99.-The foresail. appear to be in a good stiff breeze 

when fastened on the masts. Slide the foresail you have just 
made on the foremast ; it will stay in place without glue. Make 

A Paper Flag 

like Fig. 600, for the mainmast, one and three- 
fourths inches long and one and one-half inches 
wide. Cut two holes at one side as shown in 
the diagram, divide the remaining space into 
four squares and paint the two diagonal squares, Q and 

Q, red. 

Make the Main-Topsail 

three and one-fourth inches long 
and three and three- fourths 
inches wide (Fig. 601). For the 

Crow's-Nest 



°Q 







9 



Fig. 600.— The flag. 




Fig. 601. — The main-topsail. 




saw or cut off the top of an 
ordinary wooden spool and paint 



Columbus and His Paper Ship 



413 




red downward 

points around 

. the top edge, a 

Fig. 602.— The r b * 

crow's-nest, pointed band 
around the centre, and two 
straight, narrow bands at 
the lower edge (Fig. 602). 

The Mainsail 

(Fig. 603) must be four and 
one-half inches long and 
five inches wide. Paint a 
red cross on it as shown in 
the diagram. Slide the main- 
sail well down on the mainmast ; over it place the spool top 
"crow's-nest"; next run on the main-topsail and slip the flag 

on the tiptop. 




<0 




Fig. 604. — The jigger sail is shaped like this. 



The Jigger Sail 

for the mizzenmast at 
the stern of the boat 
must be five inches high 
and five inches wide 
(Fig. 604). Paint the 
paper pennant (Fig. 
605) blue, and bend it 
into several waves. 
Slide the jigger sail in 
place on the mizzenmast 
and top it with the blue 
pennant. Your fin- 



414 Things for Home, Gift Days and Fairs 




Fig. 605. — A bright colored pennant. 




Fig. 606. — Cut Columbus out by this pattern. 



ished vessel 
should re- 
semble closely the 
illustration. If you 
want to 

Paint the Santa 
Maria 

do so before giving it 
the wax bath. Color 
the hull a reddish 
brown, the masts 
brown, and the sails 
a light orange; this 
will give a very pretty 
effect. 

Now for the char- 
acters of our little 
drama. Make 

Columbus 

of heavy stiff writing- 
paper or very light- 
weight cardboard, like 
the pattern (Fig. 606), 
which measures from 
the top of the head 
to the lowest edge of " 
the stand, four and 
three - fourths inches. 
Without the stand the 



Columbus and His Paper Ship 



415 






Fig. 609. — Cut the hat 
like this. 




Fig. 608. 



-Turn back the front 
edges. 



Fig. 



610. — The hat 
is folded. 



figure measures four inches. Carefully- 
cut out Columbus, mark his features, 
hair, and clothing in black ink. Cut his 
cloak (Fig. 607) of red tissue paper, bend 
at dotted lines across the shoulders, and 
fold back the open 



front as in Fig. 608. 
Make the red 
tissue paper cap 
(Fig. 609), and 
fold lengthwise 
across centre 
(Fig. 610); then 
put both cloak 
and hat on Co- 
lumbus, that he 
may be ready to 
start on his 
journey (Fig. 
611). Cut out 

Fig. 61 1, —Columbus in his red cloak, a number 01 




Fig. 613, — One of the sailors, 



416 Things for Home, Gift Days and Fairs 




Fig. 613. — The Indian. 



sailors (Fig. 612) to go on the boat with 
Columbus, and a lot of Indians (Fig. 613) 
for Columbus to find when he lands on the 
shores of America, at the other end of the 
bathtub. 

Make Wigwams 

for the Indians of paper cut in half circles. 
Bend back narrow, pie-shaped pieces along 
the two straight edges of each half circle, 
make the pie-shaped pieces reach midway 
up toward the centre; then bend the half 
circles into tent-like forms, pin the two 
top edges of each one together, and you 
will have wigwams, with the doorway flaps 
bent back. Cut off the top peak of each, 




Fig. 614. — Make several paper wigwams. Fig. 615. — King Ferdinand and Queen Isabella. 



Columbus and His P after Ship 417 

wigwam and stand some heavy long broom straws in the opening 
to represent poles used in real wigwams (Fig. 614). 
Fig. 615 shows 

King Ferdinand and Queen Isabella 

of Spain, seated on their pasteboard throne, ready to receive 
Columbus. 

Queen Isabella gave three ships to Columbus, but the Santa 
Maria was the largest vessel, and the one which carried Colum- 
bus. The two smaller boats were named the Pinta and the 
Nina. You can make these smaller ships or use any little boats 
you happen to have; they are not very important. 



CHAPTER XXXIV 




HOW TO MAKE FRIENDS WITH 
THE STARS 

? HEN you used to recite about 
the cow jumping over the 
moon, you did not know that 
there were all sorts of animals 
and people up among the stars 
near the moon, and, while they 
may never have followed the 
example of the cow in the 
nursery rhyme, probably they 
often feel as though they would enjoy doing so. But these 
starry people and their pets are very well behaved, and so far 
they have been perfectly content to remain exactly where they 
were placed hundreds of years ago. 

There is one animal in particular with which you must make 
friends — a bear, an immense creature called 

Ursa Major 

Never could an earthly bear have such a tail as you see in Fig. 
6 1 6. However, the Great Bear is very different from the ordi- 
nary bear, and needs the big, bushy tail for three bright stars. 
Four more equally bright stars are on the creature's side. Trace 
the big bear on cardboard, and be sure to get the stars in the 

418 



Making Friends IVith the Stars 



right places. Cut out 
the pasteboard bear, 
and with a large, coarse 
pin or needle pierce a hole 
in the centre of each star; 
then hold the bear up to the 
light, as the little girl holds 
the Hon in Fig. 617. Look 
through the bear and you 
will see seven tiny, twinkling 
stars forming a dipper. Pre- 
tend you have stretched a 





Fig. 617.— Making friends with 

the stars. June and July. 



Fig. 616. — Ursa Major, the Great Bear. 

string from star to star, and what you 
will see will resemble Fig. 618. Look 
again and if the dipper is not distinct, 
make the holes in the centres of the stars 
larger. 

After you have learned precisely 
how Ursa Major looks with its starry 
dipper, and can see it even with your 
eyes closed, peep out into the night and 
try to find your friend up in the real 
sky. The bear is there, but you must 
recognize it by the dipper, for of course 
you cannot really see the animal itself. 
When you find the dipper you will 
know that the Great Bear is in the 
sky looking down upon you. You can 
see the big bear during the early 
evening hours of March, April, May, 



420 Things for Home, Gift Days and Fairs 




Fig. 620. — Ursa Minor, 
Little Bear. 




Fig. 618. — Ursa Major, Great Bear. 



Fig. 619 gives another bear, 
a little one, whose name is 

Ursa Minor; 

he also has a long tail spangled 
with stars and four more stars 
on the side of his body which 
form a little dipper; the three 
stars on the tail make the 
handle. Though the bear is 
small, he is very important be- 
cause of the large star on the 
end of his tail, which you 
must call the Pole star. This 
star shines out to show which 
direction is north when one 
gets lost or confused about 
his way. The Pole star 
may always be depended 
upon as a guide, and sailors look for it 
to help them find their course through the 
waters. 

Ursa Minor is turned in an opposite 

direction and position from the Great Bear, 

and the pose makes it easy for us to find 

the Pole star, because when we once trace 

out the stars of the Great Bear in the real 

sky we will see that the two outermost 

stars of the four which form its bowl, point to the Pole star. 

We can pretend that we have tied a string on the star in 

the outside top end of the Big Dipper (Figs. 616 and 618 A), 




Fig. 619. — Ursa Minor; 
Little Bear. 



Making Friends With the Stars 



421 



and that we are stretching that string out from the Dipper star 
in a direct line; then we can tie the string on the Pole star in 
the end of the Little Bear's tail, as shown in Figs. 618 and 620, 
where the dotted line represents a string. 

Trace on cardboard and cut out Ursa Minor, punch holes 
through the stars and hold the little fellow up to the light, head 
down. The Little Bear, too, is visible shining not far from the 
Big Bear during the same months. 

There is 

A Fairy Tale 

about the starry bears. The story tells us that a long time ago 
these animals were not bears and did not live among the stars. 
The Great Bear was a gentle lady, and the Little Bear her son. 
The poor mother and son were turned into bears by the goddess 
Juno, and their friend Jupiter had not enough power to disen- 
chant them and restore to them their human forms. So he did 
what he thought was next best ; he placed the two bears, mother 
and son, up in the sky among the 
stars, where they remain to this day. 
Fig. 621 is 

Cassiopeia 

In the sky all of her stars are brilliant, 
except the one marked K. This is 
a shy little twinkler and appears rather 
faint at times; but in the Autumn 
when you hunt for Cassiopeia, you 
will be able to see the star K, if your 
eyes are bright. This lady with up- 
lifted arms is the wife of a king. 
Trace her and cut her out, punch Fig. 621.— Cassiopeia. 




422 Things for Home, Gift Days and Fairs 




Fig. 622. — Cassiopeia. 



holes through the centres of the seven stars, then catch hold of 
the sweeping train of the queen's dress and hold her up to the 
light, when the pinholes will look like Fig. 622, 
reminding one of a chair turned upside down, 
with its feet toward the queen's head and its 
back down toward her feet. You will be de- 
lighted with this constellation, for it is very- 
beautiful, and you may find Cassiopeia any night of August, 
September, October, November, December, January and Feb- 
ruary, as she is always then visible after dark. 
Now we will make the king of beasts, 

Leo, the Lion, 

for he is very fine-looking with his starry mane and a star almost 

in his mouth (Fig. 623). Trace the lion carefully, name him 

Leo, and cut him out; 

pierce holes through the 

stars and hold the figure 

up to the light. The 

little girl in Fig. 617 is 

enjoying her Leo very 

much. Notice how 

earnestly she peers 

through the holes, for 
she is deter- 
mined to 
know the 
constella- 
tion. When you look through the pinholes of Leo, you 
will find that the constellation resembles a sickle, 

Fig 'the Lio~n e0 ' as in Fig. 624. The Hon is in plain sight during 





Fig. 623. — Leo, the Lion. 



Making Friends JVith the Stars 



423 



February, March, April, May and June, so you have a long time 
to make friends with him. 

During the Spring you can see all the constellations we have 
made, and also the beautiful starry 

Northern Crown 

(Fig. 625), shining in a brilliant half circle as shown in Fig. 626. 

The gems of stars in the crown sparkle and shine for us during 

April, May, June, July, August, 
September and October. 




V*^ 



Fig. 625. — The Northern Crown. 

The little twin brothers, 



Fig. 626. — The Northern Crown. 



Castor and Pollux, 

sons of Jupiter; always 
sit together up among 
the stars. The constel- 
lation is called Gemini 
(Fig. 627). When stars 
are clustered together, 
we say the group is a 
constellation. All of the 
starry people and ani- 
mals are only different 
constellations. In this 
group each boy has a star 
on his head, a star on 
one knee and a star on 




Fig. 627. — Gemini, the Twins. 



424 Things for Home, Gift Days and Fairs 




Fig. 628.— Gemini, the 
Twins. 



one foot, which makes six stars. Trace the 
twins on cardboard, cut them out together in 
one piece and punch a hole through the centre 
of each star. Hold the constellation up to the 
light, and the group of wee, sparkling stars 
seen through the pinholes will resemble Fig. 
628. Look for the twins during the months 
of December, January, February, March, 
April and May, and remember you must find 



the group of stars like Fig. 628. 
Winter will bring 

Orion 

(Fig. 629). He appears in November and remains where we 
can see him through December, January, February and March. 
Orion is one of the most brilliant of constellations. The strenu- 
ous hunter has but one visible foot, the other being hidden by his 
pet hare seated in front of it; so we are obliged to make the star, 
man with one foot. The fairy tale 
says that he was a giant and the 
mightiest hunter ever known. There 
is a star on each of his shoulders 

and one on his 

cheek, forming a 

triangle ; then there 

is another star 

down on his left 

foot and one on his 

right knee. Trace 

the mighty hunter 

and cut him out as 

you did the other 




Fig. 630.— Orion, the 
Giant. 




Fig. 629. — Orion, the Giant. 



Making Friends with the Stars 



425 



constellations. Draw a line from star to star and, after adding 
the three stars which form Orion's belt, pierce holes in all, look 
through them (Fig. 630) and make friends with the harmless, 
starry giant. Fig. 631 is 

Taurus, 

a very lively-looking bull for one so aged; possibly the stars, 
being bright and cheery, keep the milk-white creature from 
growing old. Only a portion of the bull can be seen ; other stars 

hide the remainder. Taurus 
must be greatly dazzled by the 




Fig. 631.— Taurus, the Bull. 



Fig. 632. — Taurus, the Bull. 



stars, for there is actually one in each of his eyes, the two forming 
the ends of the V-shaped group of stars across his face. The 
tip of each horn is decked with a glorious star, while on the Bull's 
neck is a cluster of stars called the Pleiades. These stars were 
in all seven beautiful sisters, daughters of the giant Atlas; but one 
star daughter married a mortal and lost her brightness for doing 
so; consequently you can now see but six star sisters. 

In Fig. 632 you will find the constellation of Taurus as it 
looks when seen through the pinholes in the stars of the Bull, 
and also as the constellation appears in the sky on a clear night 
during November, December, January, February and March. 




CHAPTER XXXV 

STENCIL PAINTING AND HOW TO 
MAKE THE STENCILS 

a i OU need not be an artist to do the painting 
or to make the stencils. It is all easy enough 
and, because of the real beauty of the work 
and the number of purposes to which it may 
be applied, stencilling is growing more and 
more popular. 

With the stencil you can decorate a 
window curtain, portiere, table cover, bed- 
spread, bureau scarf, screen or the walls of your room. You 
may even paint the trimmings for a dress if 'you like; it has been 
done. 

Stencilling is effective on almost any material: silk, cotton, 
linen and wool. Swiss and cheese-cloth sash curtains are particu- 
larly attractive decorated in this way, and swiss bureau and pin- 
cushion covers are very dainty. The drawing on page 427 is of a 
white cheese-cloth short sash curtain stencilled in pink and light 
apple-green. Both dye and oil paints may be used, but for any- 
thing washable 

Dyes 

are the best, inasmuch as they are supposed to be fast colors. 
There is an inexpensive dye now on the market that comes in 
tubes like oil paint and does not require boiling. This is con- 
venient to handle, as it is merely necessary to dissolve it in water. 

426 







This Portiere is Made of Unbleached Sheeting Stencilled in Persian Design. 



Stencil Painting and Stencils 



427 



Tapestry dyes may also be used but are much more expensive. 
Heavy, non- washable material may be stencilled with oil colors. 
The color is not used as a paint but as a stain and must be en- 




A«x.«X\o»T2>.'^>$o.-v< 



Stencilled Cheese-cloth Curtain. 



tirely dissolved in turpentine to make it flow easily. Our first 
drawing shows 

A Portiere 

made of heavy unbleached sheeting stencilled in a Persian pat- 
tern with dull-red, moss-green, yellow and black. Curtains may 
also be made of denim, crash, burlap and a number of other 
materials. The simplest way to 



428 Things for Home, Gift Days, and Fairs 

Make Your Stencil 

if you have no especial ideas of your own to carry out, will be 
to select a graceful embroidery pattern or one intended for decora- 
tive painting and adapt it to your use. With a little practice this 
becomes quite easy. The principal things to remember are that 
a good stencil design should be simple, bold and conventional; 
the unbroken lines must not be too long nor the spaces to* be cut 
out too narrow, between the cut-out parts there must be space 
wide enough to hold firmly. It is also necessary to break the 
lines once in a while with little bridges. 

Suppose we take the pattern (Fig. 633). To make it into 

A Design for Stencilling 

we must cut off connections and separate it into many parts, at 
the same time keeping the effect of the long curves. Beginning 
with the flower we will separate the petals and calyx (A, Fig. 633,. 




Fig. 633. — Design for outline embroidery. 

and A, Fig. 634), and widen the stem (B, Fig. 633, and B, Fig. 
634). Instead of continuing the curve we will break it at C and 
D, with two little bridges. This divides the stem into three parts, 
and, to give variety and interest to an otherwise monotonous 
line, we will widen the first and second parts of the stem at the 



Stencil Painting and Stencils 429 

lower ends, curving the wide end inward and rounding the end 
of the next section to give the idea of its fitting the joint. The 
suggestion of the various parts fitting together in stencil design- 
ing is the means of carrying the eye over necessary bridges or 
intervening spaces and conveying the impression of continuous 
lines. The third section of the stem, where it disappears under 
the flower in Fig. 633, we will bring to a point in Fig. 634 to 
indicate its vanishing behind the flower. The buds which fill 



Fig. 634. — This is adapted from an outline embroidery design. 

in the curve of this stem in Fig. 633 we will leave out altogether, 
for they would crowd the design. We will conventionalize the 
leaves, dispense with the small stems, broaden the main leaf 
stem, separate it from the flower stem and curve each end, one 
to fit the base of the end leaf, the other to follow the curve of 
the flower stem. 

This furnishes one section of the pattern; the rest is but a 
repetition of the same, which is reversed as the curves alternate. 

Now for the making of the stencil. 

Fig. 635 is a section of the design, actual size, which you can 
use immediately, without waiting to develop a design for yourself. 



430 Things for Home, Gift Days and Fairs 

Take a piece of smooth white tissue paper, lay it over the 
pattern (Fig. 635) and, with a very soft lead pencil, trace the pat- 
tern carefully. Fig. 635 is reversed, especially for tracing. Have 
ready a perfectly smooth piece of heavy Manila wrapping paper 
seventeen inches long and seven inches wide. With the aid of a 




^w 



Fig. 63S.— Trace this. 



ruler draw two straight lines lengthwise across the paper, the 
first line two and a half inches from the top edge of the paper 
(E, Fig. 636), the next one and three-eighths inches below the 
first line (F). One-half of an inch above the first line E draw 
another line (G), and one-half of an inch below the line F draw 
another line (H). 



Stencil Painting and Stencils 



431 



Lay the tracing, pencilled side down, on the wrapping paper, 
with the upper and lower curves of the flower stem just fitting 
between the lines G and F (Fig. 637). Transfer the tracing to 



Fig. 636. — Rule the paper in this way. 



the wrapping paper by going over the lines of the design with 
your soft pencil; then turn the tracing over and bottom edge 
up to reverse it and lay it again on the paper, this time with the 



W 



^$ 



SP?^ 






^rf^ 




Fig. 637. — Place sections of the design between the lines in this way. 

curves of the flower stem between the lines E and H, and go over 
the lines of the design again with your soft pencil. Once more 
reverse the design and bring the curves of the flower stem be- 
tween the lines G and F. This last section will finish the 
pattern. In reversing the tracing always allow one-quarter of 



432 Things for Home, Gift Days and Fairs 

an inch space between the tips of the two flower petals I and J 
(Fig. 637), and the leaf K (Fig. 637). 
With a pair of sharp scissors 

Cut Out Your Design 

taking great care to keep within the outlines, for a snip beyond 
will let in color in the wrong place and spoil your stencil. Re- 
member you are not to cut the paper away from the design but cut 




Fig. 638. — Cut the stencil out like this. 

the design out leaving the surrounding paper intact. This makes 
the stencil (Fig. 638). When all of the design is cut out place 
your stencil flat on a board and give it a coat of white shellac, 
then lift it and move to another place on the board to prevent 
its sticking. When quite dry turn the stencil over and shellac 
the other side. Be sure the edges of the cut-out parts are covered 
with shellac as well as the rest of the paper. The shellac makes 
the paper waterproof and durable. Do not use the stencil until 
it is absolutely dry, 



Stencil Painting and Stencils 



433 




Trace Fig. 639 
which is the conven- 
tionalized flower, and 
transfer it to the centre 
of a four-inch square 
of the wrapping paper, 
or make the flower 
smaller if you prefer 
to have it the size of 
the one in the border. 
Cut out the design 
and shellac the little 
stencil as you did the 
larger one (Fig. 640). 

Fig. 639. — Trace this flower. mt 1 A i_ 

The closer the 
weave of the cloth the easier is the work of stencilling, but the 
dye penetrates entirely through thin material, and the effect is 
so attractive I will describe the 

Cheese-cloth Curtains 

and the process given for 
stencilling these will answer 
for any other material. 

One width of cheese-cloth 
for each half of the short 
• Dutch curtains is sufficient 
for quite a wide window. If 
the curtain is too full much 
of the effect of the decoration 
is lost. 

Select the finest quality Of pig. 640.— The small stencil. 




434 Things for Home, Gift Days and Fairs 



cheese-cloth and cut it the required length. Hem the bottom 
edge and lay the curtain, right side up, smoothly on a lap-board 
with the hem at the top. Place your stencil on the curtain so 
that the design will be about one inch and a half from the hem. 
Slide a new piece of blotter paper under the curtain to absorb 
the extra moisture, then tack the stencil down with rather small 




Fig. 641. — Tack the Stencil down with pins. 

pins. Drive a pin in the centre of each flower, at the point of 
each petal and at the point of each leaf, between the petals and 
between the leaves, also in every bridge and along the edges of 
the design wherever the paper is inclined to lift (Fig. 641). In 
short, your endeavor must be to keep the stencil perfectly flat 
on the cloth so that the dye will not penetrate beyond the open- 
ings and blur the outlines. 

Before tacking the stencil in place 

Make Your Dye Ready 

Buy a tube of olive green dye, one of yellow and one of cardinal 
red. Squeeze about a teaspoonful of dye into a teacup, add 
two tablespoonfuls of boiling water, stir until dissolved, then 



Stencil Painting and Stencils 435 

add enough boiling water to give the desired shade. You can 
test the depth of color by dipping bits of white cloth in the dye. 
Each dye must be in a separate cup and a little yellow should 
be added to the green after it is dissolved, but before it is diluted 
with the extra water. Have ready 

Two Stiff Bristle Brushes, 

such as are used for oil painting, and a piece of old white muslin. 
With your stencil in place, take the board on your lap, set the 
dye on a stand at your side and lay the old muslin folded on the 
board above your curtain. Dip a brush in the dye and rub it 
on the muslin to remove some of the moisture, for a brush too 
wet will cause the dye to spread and spoil the outline of the 
design. 

Beginning at the left hand of your stencil, scrub the cheese- 
cloth in the openings of the design until it becomes the right 
shade and the dye sinks entirely through the cloth. The flowers 
must be pink and the leaves green, but you can make the flowers 
darker at the centre if you wish by applying more color. Use 
separate brushes for the green and red dye. Hold the brush 
firmly and in an upright position. 

When you have stencilled the entire design 

Pull Out the Pins, 

move the stencil farther along on the curtain, tack it down and 
continue stencilling until the border is finished; then take the 
small stencil of the single flower (Fig. 640) and stencil the 
flower at irregular intervals over the curtain. For 

The Tassels 

which finish the curtains use cheese-cloth colored with the green 
dye. Cut a strip of cheese-cloth two and half inches wide, spread 



436 Things for Home, Gift Days and Fairs 




Fig. 642. — Crease the cloth 
through the centre. 



Fig. 643. — Leave several inches of thread at 
the ends. 




Fig. 644. — Tie securely. 



Fig. 645. — Make a loop of the floss. 



Stencil Painting and Stencils 



437 



it flat on the board and paint it with the dye, using your bristle 
paint brush for the purpose. When the cloth is dry cut it into 
pieces four inches long. Dye a number of strands of white 
linen floss, or use green linen or silk floss for tying the tassels. 

Fold one piece of the dyed cheese-cloth crosswise through the 
centre and crease it (Fig. 642). Thread a coarse needle with a 
strand of the floss and run it through the crease, leaving several 

inches of the floss at each end (Fig. 
643). Draw the material into gathers 
and tie securely (Fig. 644). Then 




Fig. 646. — Run another gathering 
thread across each half of the 
tassel. 



Fig. 647. — Wrap the thread 
around to form the neck. 




648.— Trim off 
the bottom. 



bring the two ends together. Make a loop of the floss about one 
inch long (Fig. 645), and fasten by taking one or two stitches in 
the gathers. Open the fold, bring the ends of the floss on the 
underside of the tassel, tie close to the gathers and cut off the ends. 
Run another gathering thread across each half of the tassel, half 
an inch below the gathers at the top (Fig. 646). Draw the 
thread tight, wrap it around several times to form the neck 
(Fig. 647), and fasten with several stitches. Cut the floss close 
to the wrapping and with the scissors trim off the bottom of the 



438 Things for Home, Gift Days and Fairs 

tassel until it is perfectly even (Fig. 648). Sew the tassels sev- 
eral inches apart on the bottom edge of the curtains, as shown 
in illustration. When the curtains are 

To be Laundered 

soak them for an hour or more in a strong solution of salt and 
water, then wash carefully in the suds of a pure white soap and 
rinse thoroughly. Do not rub the soap on the material, and 
before putting the curtain in water shake and brush out all loose 
dust. Dry in the shade. 



INDEX 



Airships, fairy, 70 
Alexandria, Pharos of, 245 
Amytis, 279 
Animal circus, 1 5 
Apollo, Statue of, 233 
Apple, Hallowe'en, 60 
Apple games, 85 
Ascension, balloon, 1 1 



B 



Baby, Punch and Judy, 52 

Baby porcupine, 68 

Babylon, hanging gardens of, 279 

Babylonians, 283 

Backyard camp, 194 

Ball, tether, 207 

Balloon ascension, 1 1 

Banana canoe, 401 

Basket, hanging, 372 

Bathing place, 341 

Bayberry candle, 326 

Bead door knobs, 317 

Bean bag test, 66 

Bells, Easter, 364 

Berries, holly, 307 

Blackbirds, girls' fair, 181 

Blarney stone game, 71 

Blind mice, three, 144 



Bloodroot, 363 
Board, weaving, 349 
Boat, backyard camp, 202 
Boot, Santa Claus, 169 
Bouquet, 147 
Bowls and cups, 59 
Bowsprit, 408 
Box, Pandora, 12 
Bricks, Babylonian, 286 
Broad-fronted bulls, 293 
Brook, crossing the, 133 
Bud, tulip, 361 
Bulls, Babylonian, 293 
Bushes, bayberry, 326 
Butterfly game, 42 



Camels, Egyptian, 228 
Camp, backyard, 194 
Camp-fire, backyard, 201 
Camping outfit, 194 
Candle, bayberry, 326 
Candle-moulds, 331 
Candlesticks, homemade, 385 
Candlewicks, 334 
Canoe, banana, 401 
Card, Easter egg, 363 
Card, tally, 159 
Cardboard Pharos, 244 
Cards, Easter, 358 

439 



440 



Index 



Caria, 257 

Cassiopeia, 421 

Castor, 423 

Cats, black, 56 

Cella, 271 

Chair, doll's, 370 

"Chapeau Bras," 377 

Charades, Pantomime, 6 

Chares, 233 

Charm, lava, 67 

Cheops, 219 

Chephren, King, 224 

Chick, good-morning, 381 

Chicks, Easter, 143 

Christmas, decorations, 303 

Christmas tree, living, 173 

Circus, home, 15 

Claus, jolly little Santa, 163 

Clay candlesticks, 386 

Cnidus, Sostratus, 253 

Coat, Santa Claus', 169 

Coloring pottery, 396 

Colossus of Rhodes, 233 

Columbus, paper, 405 

Columbus, to make, 414 

Columns, temple, 269 

Coracle, orange skin, 400 

Costume, Puritan man's, 98 

Costume, Titania's, 82 

Costumes, Charades, 7 

Cotton, stuffing, 237 

Country picnic, 132 

Court, pumpkin game, 90 

Court, tether-ball, 2 1 1 

Cow jumped over the moon, to make, 

139 
Cradle, doll's, 372 
Cross, to make, 360 
Crossing the brook, 133 
Crow's-nest, 412 



Crystal, Japanese, 68 
Cupid's door, 108 
Cups and bowls, 59 
Cups, Santa Claus', 170 
Curtains, tissue paper, 324 



D 



Dainty bloodroot, 363 

Dais, upper, 264 

Daisy Valentine, 1 10 

Dance of the dolls, 145 

Dance, of Titania, 75 

Date palm, 227 

Daylight fireworks, 1 1 

Deck, forward, 409 

Deck-fence, 410 

Decorations, living Christmas tree, 177 

Diana, temple of, 269 

Disks, gilt paper, 36 

Doll house, 315 

Doll's chair, 370 

Dolls, dance of the, 145 

Door, Cupid's, 108 

Doorknobs, bead, 317 

Drama, Punch and Judy, 53 

Dress, Punch's, 50 

Dress, Puritan woman's, 98 

Dye kettle, magic, 43 



Easter bells, 364 
Easter cards, 358 
Easter chicks, 143 
Easter egg cards, 363 
Easter party, 33 
Egg card, 363 



Index 



441 



Egg tennis, 33 

Eggs, to prepare for tennis, 34 

Egypt, pyramids of, 219 

Elephant, 20 

Empress Josephine, 379 

Entertainment, Valentine, 103 

Ephesus, temple of Diana at, 26 

Euphrates, 279 

Evergreen ropes, 312 

Express office, girls' fair, 186 



Garden planting game, 159 
Gardens, hanging, 279 
Giant firecracker invitation, 4 
Gilt paper disks, 36 
Girl, sun-bonnet, 149 
Girls' fair, 179 
Glazing candlesticks, 395 
Goddess Diana, 272 
Good-night chick, 384 
Grass, invitation rings of, 55 



H 



Fair, girls', 179 

Fairy airships, 70 

Fairy lamp, 403 

Fairy waters, life in, 141 

Fence, picnic, 132 

Fire, backyard, 201 

Firecracker invitations, 4 

Fireworks, daylight, 1 1 

Flag, 412 

Flags, flowerbeds, 157 

Footstool, Zeus, 265 

Forfeits, 95 

Fortune jingle, 71 

Fortune telling, novel, 55 

Fourth of July lawn frolic, 3 

Frieze, doll house, 322 

Frolic, Fourth of July, 3 



Half candle, 391 

Halicarnassus, Mausoleum of, 245 

Hallowe'en apple, 60 

Hallowe'en merrymaking, 55 

Handle, candle, 393 

Hanging basket, 372 

Hanging gardens, 279 

Harmless serpent, 69 

Hat, peaked, 174 

Head, Judy's, 51 

Heart, Valentine, 109 

Heavier rug, 357 

Holly, 304 

Holly berries, 307 

Hollyhocks, paper, 129 

Home circus, 15 

Homemade candlesticks, 385 

Horse, Rosebud's, 18 

House, doll, 315 

Hurling the lance, 10 



Game, Blarney Stone, 71 
Game, butterfly, 42 
Game of egg tennis, 39 
Games, new Easter, 33 
Garden, plant your, 1 5 1 



I 



Impromptu moving pictures, 97 
Inlaying Zeus' throne, 267 
Invitation, giant firecrackers, 4 



442 



Index 



J 

Japanese crystal, 68 

Japanese tag, 134 

Jigger sail, 413 

Jingle, fortune, 71 

Jolly little Santa Claus, 163 

Josephine, 379 

Judy's head, 51 

K 

Kettle, magic dye, 43 



Lamp, fairy, 403 
Lance, hurling the, 10 
Lantern, pumpkin, 93 
Lava charm, 67 
Lawn frolic, Fourth of July, 3 
Leaves, bayberry, 326 
Leo, 422 

Life rope, toy, 340 
Lighthouse, first, 245 
Living Christmas tree, 173 
Loom, to weave without, 349 
Love's palette, 1 1 1 
Lumberman, 344 

M 

Mademoiselle Rosebud, 16 

Magic dye kettle, 43 

Magic -peep show, 137 

Mainmast, 41 1 

Mainsail, 413 

Main topsail, 412 

Man, Puritan, 98 

Marble steps, 252 

Mausoleum of Halicarnassus, 245 

Media, 279 



Mermaid, 142 

Mermaid, 345 

Merrymaking Hallowe'en, 55 

Mice, three blind, 144 

Mikado, 374 

Mistletoe, 310 

Mizzenmast, 408 

Modelling tools, 387 

Moon, cow that jumped over, 141 

Moulds, candle, 331 

Moving animal circus, 1 5 

Moving pictures, impromptu, 97 

Myth, 12 

N 
Napoleon, 375 
Nebuchadnezzar, 279 
Nest, bird's, 373 
Northern crown, 423 
Novel Easter party, 33 
Novel fortune telling, 55 

O 

Office, express, girls' fair, 186 
Olympia, statue of Zeus at, 259 
Orange games, 85 
Orange-skin coracle, 400 
Order of entertainment, 6 
Original Valentine, 103 
Orion, 424 
Outdoor fun, 207 
Outfit, camping, 194 
Oyster, sea treasure, 69 



P 



Palette, love's, 1 1 : 
Palm, date, 227 
Pandora box, 12 
Pantomime, 102 



Index 



443 



Pantomime, charades, 6 

Paper Columbus, 405 

Paper disks, 36 

Paper shower, 36 

Party, novel Easter, 33 

Party, Thanksgiving, 85 

Pasteboard doll house, 3 1 5 

Peaked hat, 174 

Peep show, magic, 137 

Performers, wild west show, 1.20 

Pharos of Alexandria, 244 

Phidias, 259 

Picnic, roof, 127 

Pig, to make, 367 

Pin cushion, 375 

Pitch-wood fire, 252 

Plant your garden, 151 

Plants, Babylonian, 299 

Platforms, hanging gardens', 284 

Pole, tether-ball, 207 

Pollux, 423 

Porcupine, 68 

Post-office, 104 

Postmaster, girls' fair, 192 

Pottery, coloring, 396 

Properties, Thanksgiving stage, 10 1 

Pumpkin games, 85 

Punch and Judy show, 45 

Punch's head, 46 

Puritan woman, 98 

Pyramids, 219 

Q 

Queen Titania, 75 

R 

Race, shuffle, 10 
Race, wedding, 61 
Rackets, egg tennis, 38 
Rackets, palm-leaf fan, 1 58 



Rackets, tether-ball, 214 
Raft, toy, 341 
Rapid-transit story, 92 
Reindeer, Santa Claus, 165 
Rhodes, Colossus of, 233 
Rings of grass, invitation, 55 
Rite, vesper, 65 
Roof picnic, 1 27 
Ropes, evergreen, 3 1 2 
Rosebud, mademoiselle, 16 
Roses, paper, 130 
Rug, doll house, 323 
Rules of egg tennis, 41 



Saddle, camel, 230 

Safe, backyard, 199 

Sail boat, 373 

Sails, Columbus' ship, 41 1 

Sandpaper for pyramids, 221 

Santa Claus, 163 

Santa Maria, 41 1 

Saucers, Santa Claus, 171 

Screen, witch, 66 

Sea treasure, 69 

Secret of magic kettle, 43 

Serpent, 69 

Shelves, 324 

Ship, Columbus', 405 

Show, magic peep, 137 

Show, Punch and Judy, 45 

Show, wild west, 1 1 3 

Shower of paper, 36 

Shrubbery, Babylonian, 297 

Shuffle race, 10 

Side steps, Diana's temple, 276 

Sides, choice of, 160 

Sleigh, Santa Claus, 164 

Slides, peep show, 138 



444 



Index 



Slippers, old, 58 
Sostratus, 253 
Sphinx, 225 
Spool table, 3 1 5 
Spoon, 368 
Spring, tin-pail, 200 
Stage, Punch and Judy, 45 
Stage, Titania's, 75 
Stamps, Valentine, 107 
Statue of Zeus, 259 
Statues, Babylonian, 294 
Stems, 3 1 1 
Stencil painting, 426 
Stencils, to make, 426 
Steps, Diana's temple, 274 
Steps, marble, 252 
Story, rapid transit, 92 
Strawberry, 371 
Sun-bonnet, charade, 7 
Sun-bonnet girl, 149 
Sunflowers, paper, 127 



Table, backyard camp, 198 
Table, spool, 3 1 5 
Table, wild west show, 1 1 3 
Tag, Japanese, 134 
Tally card, 1 59 
Taurus, 425 
Temple of Diana, 269 
Tennis, egg, 33 
Tent, backyard, 197 
Tent, to make, 123 
Test, bean bag, 66 
Tether-ball, 207 
Thanksgiving party, 85 
Three blind mice, 144 
Throne of Zeus, 263 
Tissue paper glass, 318 



Titania's dance, 75 

Tools, clay modelling, 387 

Toys, water, 338 

Tree, living Christmas, 173 

Trousers, Santa Claus, 169 

Tulip bed, 361 

Turtle, 366 

U 
Umbrella, 369 
Upper dais, 264 
Ursa major, 418 
Ursa minor, 420 



Valentine entertainment, 103 
Vesper rite, 65 
Victory, winged, 268 

W 
Warp, 350 
Water life, 141 
Water toys, 338 
Wax, bayberry, 331 
Weaving, 349 
Wedding race, 61 
Wicks, candle, 334 
Wig, Santa Claus, 169 
Wigwams, 416 
Wild west show, 1 1 3 
Window glass, 318 
Winged victory, 268 
Wings, Titania's, 83 
Witch screen, 66 
World, valentine, 109 
Wreaths, 310 

Y 
Yard, camping in back, 194 



Zeus, statue of, 259 



THE BEARD BOOKS FOR YOUNG PEOPLE 



Recreations for Girls 

By LINA and ADELIA B. BEARD 
Profusely illustrated by the authors. 8vo t $2.00 



This new book for girls, by Lina and 
Adelia Beard, whose previous books on girls' 
sports have become classic, combines a mass 
of practical instruction on handicrafts and 
recreations. No more charming book for 
girls could be desired. 

" It teaches how to make serviceable and useful 
things of all kinds out of every kind of material". It 
also tells how to play and how to make things to 
play with. The girl who gets this book will not 
lack for occupation and pleasure." 

— Chicago Evening- Post. 



SOME OF THE CHAPTERS 

A Home-made Loom 
How to Spin Flax 
Pottery Without a Wheel 
Hallowe'en Revels 
The Magic Cloth 
A New Race of Dolls 
Modeling in Tissue Paper 
Open Air Play Houses 
May Bay Amusements 
An Indian Encampment 
A Toy Colonial Kitchen 



Things Worth Doing 

AND HOW TO DO THEM 

By LINA and ADELIA B. BEARD 

Profusely illustrated by the authors. 8vo, $2.00 



An infinite variety of things worth doing is comprised in the latest Beard 
book for girls, which is in every way equal to its widely popular predecessors, 
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some six hundred drawings. 

The book tells of such things as these: A Wonderful Circus at Home, 
A Valentine Entertainment, A Novel Easter Party, Hallowe'en Merrymaking, 
How to Get Up a Girls' Fair, 



THE BEARD BOOKS FOR. YOUNG PEOPLE 



THE AMERICAN GIRL'S HANDY BOOK 

HOW TO AMUSE YOURSELF AND OTHERS 

By LINA and ADELIA B. BEARD 

Vith nearly 500 Illustrations by the Authors 
One volume, square 8vo, $2.00 

Eight new chapters have been added to the forty-two which have carried 
this famous book to the hearts of all the young people since its first appear- 
ance, and everything that the girls of to-day want to know about their sports, 
games, and winter afternoon and evening work, is told clearly and simply 
in this helpful and entertaining volume. The volume is fully and hand- 
somely illustrated from drawings by the authors, whose designs are in the 
best sense illustrative of the text. 




The:Amerigan:Girls 
•handbook? 



SUMMARY OF CONTENTS 

First of April — Wild Flowers at 
Their Preservation — The Walkirr 
Club — Easter-Egg Games — How to 
Make a Lawn Tennis Net — May- 
Day Sports — Midsummer - Eve 
Games and Sports — Sea-side Cot- 
tage Decoration — A Girl's Fourth 
of July — An Impression Album — 
Picnics, Burgoos, and Corn-Roasts 
— Botany as Applied to Art — Quiet 
Games for Hot Weather — How to 
Make a Hammock — Corn - Husk 
and Flower Dolls — How to Make 
Fans — All Hallow Eve — Nature's 
Fall Decorations and How to Use 
Them — Nutting Parties — How to 
Draw, Paint in Oil-colors, and 
Model in Clay and Wax — China 
Painting — Christmas Festivities, 
and Home-made Christmas Gifts — 
Amusements and Games for the 
Holidays — Golf — Bicycling — Swim- 
ming — Physical Culture — Girls' 
Clubs — A New Seashore Game- 
Apple Target Shooting — Water 
Fairies. 

Louisa M. Alcott wrote : " I have put it in my list of good and useful books for young 
people, as I have many requests for advice from my little friends and their anxious mothers. 
I am most happy to commend your very ingenious and entertaining book." 

Grace Greenwood wrote: "It is a treasure which, once possessed, no practical girl 
would willingly part with. It is an invaluable aid in making a home attractive, comfortable, 
artistic, and refined. The book preaches the gospel of cheerfulness, industry, economy, and 
comiprt." 




BY 

Una Beard 
and 
Adelia BBe 



N ewYor k 
Charles 
Scribner'S 

- Sons 

- 1898 




THE BEARD BOOKS FOR YOUNG PEOPLb 



THE AMERICAN BOY'S HANDY BOOK 

Or, What To Do and How To Do It 

By DANIEL C BEARD 
One volume, 8vo, fully Illustrated by the Author, $2.00 




Mr. Beard's book tells the active, inventive, and practical American boy 
the things he really wants to know; the thousand things he wants to do, and 
the ten thousand ways in which he can do them, with the helps and ingen- 
ious contrivances which every boy can either procure or make. The author 
divides the book among the sports of the four seasons ; and he has made an 
almost exhaustive collection of the 
cleverest modern devices, besides 
himself inventing an immense num- 
ber of capital and practical ideas. 

SUMMARY OF CONTENTS 

Kite Time — War Kites — Novel 
Modes of Fishing — Home-made 
Fishing Tackle — How to Stock, 
Make, and Keep a Fresh -water 
Aquarium — How to Stock and Keep 
a MarineAquarium — Knots, Bends, 
and Hitches — Dredge, Tangle, and 
Trawl Fishing — Home-made Boats 
—How to Rig and Sail Small Boats 
—How to Camp Out Without a 
Tent — How to Rear Wild Birds — 
Home-made Hunting Apparatus — 
Traps and Trapping — Dogs — Prac- 
tical Taxidermy for Boys — Snow 
Houses and Statuary — Winged 
Skaters — Winter Fishing — Indoor 
Amusements — How to Make a 
Magic Lantern — Puppet Shows — 
Home-made Masquerade and The- 
atrical Costumes — With many other 
subjects of a kindred nature. 

" It is an excellent publication, and is heartily recommended to parents." 

— The Brooklyn Eagle. 

■"The book has this great advantage over its predecessors, that most of the games, tricks, 
and other amusements described in it are new. It treats of sports adapted to all seasons oi 
the year; it is practical, and it is well illustrated." — The New York Tribune. 

"It tells boys how to make all kinds of things — boats, traps, toys, puzzles, aquariums, 
fishing tackle ; how to tie knots, splice ropes, to make bird calls, sleds, blow guns, balloons ; 

Iiow to rear wild birds, to train dogs, and do the thousand and one things that boys take de- 
ight in. The book is illustrated in such a way that no mistake can be made; and the boy 
who gets a copy of this book will consider himself set up in business." 

— The Indianapolis Journal. 



^J>iE:AMERIGAN:BOYS 
AND^BOOK* 

BY 

LC.Be ari 




NewAorlc «J> 
Charles Y'j 
>Scribner"s 

gj.Sons^ 




THE BEARD BOOKS FOR YOUNG PEOPLE 



The Outdoor Handy Book 

FOR PLAYGROUND, FIELD AND FOREST 

By DANIEL C. BEARD 
With more than 300 Illustrations by the Author. Square 8vo, $2.00 



" It tells how to play all sorts of games with marbles, how to make and spin more kinds 
of tops than most boys ever heard of, how to make the latest things in plain and fancy kites, 
where to dig bait and how to fish, all about boats and sailing, and a host of other things which 

can be done outdoors. The volume is pro- 
fusely illustrated and will be an unmixed 
delight to any boy." — New York Tribune. 



SUMMARY OF CONTENTS 

Marbles — Tops — Latest Things 
in Kites — Aerial Fish and Dragons 
— Hoops and Wheels — How to 
Make the Sucker — Up in the Air 
on Stilts — Bait, Live and Dead — 
Fishing — Aquatic Sports — Rigs of 
All Kinds for Smalt Boats— Shells 
and Canoes — Hints for Collectors — 
Honey-Bee Messengers — A "Zoo" 
— Choosing Up and "It" — Count- 
ing Out Rhymes — Swimming — 
Games of Tag — I Spy — Leap Frog 
— Various Sports for Hot Days — 
Tip Cat — Games of Ball — Mumbly 
Peg, Hop-Scotch, and Jack Stones 
— Hints for Bicyclists — Camping 
Out— Boy's Ballista— " Tally-ho !" 
and Other Cries — Indian Games for 
Boys — Football — Golf, Hockey, 
and Shinny — Turtle Hunting — 
Skating — Stunning Muskrats and 
Fish — Snowball Battle and Snow 
Tag — Sleds. 




The Outdoor 
Handy Book 




BY 

D.CBeard 

New Yo rk 
Charles 
Scribnerls 
Sons. 
1900 




From Charles Dana Gibson : " It makes a man of a boy and a boy of a man." 

"This book is praiseworthy from end to end, and will find favor even with those who 
have long since passed to man's estate." — The Nation. 

" It is one of the completest things of the kind ever written, and with it one can hardly 
conceive how a boy could be without pleasant and profitable amusement at anv time. It 
treats of directions for every season of the year, in and out of doors, and on land and water. 
One of the best things about it is that it furnishes employment for a boy's ingenuity and 
mechanical skill. It seems as if this book must be destined to an immense popularity." 

—The Advance. 



THE BEARD BOOKS FOR YOUNG PEOPLE 

The Jack of All Trades 

OR, NEW IDEAS FOR AMERICAN BOYS 

By DANIEL C. BEARD 

Profusely Illustrated. Square 8vo, $2.00 




" Every boy who is handy with tools 
of any sort will enjoy this book." 

— Youth's Companion. 

< < This book is a capital one to give any 
boy for a present at Christmas, on a birthday, 
or indeed at any time." — The Outlook. 

" Full of new ideas for active boys who 
like to use tools and see interesting things 
growing under their hands." 

— IV. Y. Tribune. 

" A perfect treasure-house of things that 
delight the soul of a boy and keep him happy 
and busy." — The Interior. 

CONTENTS 
Part L Fair Weather Ideas 

Tree-Top Club-Houses — How to Capture and Trap Small- Live Animals — 
The Back-Yard Zoo — A Back-Yard Fish-Pond — Pigeon and Bantam 
Coops — How to Make a Back-Yard Aviary — A Boy's Back-Yard Work- 
shop — How to Build an Underground Club-House — A Boys' Club-House 
on the Water — How to Have Fun on a Picnic-*— How to Build and How to 
Furnish a Daniel Boone Cabin — Flat Boatman's House — The American Boy's 
House Boat — Back-Yard Switchback — How to Build a Toboggan Slide in 
the Back-Yard. 

Part II. Rainy Weather Ideas 

A Home-Made Circus — Good Games with Toothpicks and Matches — Fun 
with Scissors and Pasteboard and Paper — How to Prepare and Give a Boys' 
Chalk Talk — A Christmas Novelty for Boys — How to Make Two Boys into 
One Santa Claus — A Circus in the Attic — A Boys' Stag Party — A Wild 
West Show in the House — How to Have a Panorama Show. 



CHARLES SCRIBNER'S SONS, Publishers 

'53-157 Fifth Avenue. New York 



ity-fr 



4A 



